Dedicated 

to 

The  artists  whose  works  have 
added  to  the  beauty,  happiness  and 
comfort  of  life  in  New  York  City. 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/guidetoworksofarOOIevy_O 


1.  City  Hall 


A GUIDE  TO  THE 
WORKS  OF  ART  IN 
NEW  YORK  CITY 


FLORENCE  N.  LEVY 

Editor  and  Publisher 
AMERICAN  FINE  ARTS  BUILDING 
215  West  57th  Street 

NEW  YORK,  N.  Y.,  1916 


Copyright,  1916,  by 
FLORENCE  N.  LEVY 


First  edition,  10,000  copies 
May,  1916 


EDITORIAL  NOTE 


The  wealth  of  works  of  art  in  New  York  City  is  scarcely 
realized  by  its  residents  and  little  or  no  attempt  has  been 
made  to  bring  this  side  of  the  city’s  activities  to  the  attention 
of  the  general  public. 

The  United  States  census  for  1910  states  that  there  are 
25,000  artists  in  New  York  City.  This  includes  industrial 
art  designers  and  commercial  draftsmen,  as  well  as  the  pro- 
fessional architects,  painters  and  sculptors.  Of  this  number 
many,  who  gained  a little  success  in  their  home  town,  find 
it  of  distinct  advantage  to  settle  in  New  York  on  account  of 
the  numerous  facilities  for  study  and  for  congenial  associa- 
tions. 

Two  large  conventions  are  scheduled  to  meet  in  New  York 
in  the  spring  of  1916  and  the  desire  to  give  of  our  best  to 
these  thousands  of  visitors  has  led  to  the  preparation  of  a 
handbook.  This  “Guide  to  the  Works  of  Art  in  New  York 
City”  has  been  compiled  with  the  direct  co-operation  of  the 
Metropolitan  Museum  of  Art,  the  Brooklyn  Museum,  the 
Art  Commission  of  the  City,  the  Municipal  Art  Society, 
and  the  West  156th  Street  group  of  societies. 

The  attempt  has  been  made  to  plan  for  the  visitor  a few 
half  day  “pilgrimages”  for  the  enjoyment  of  some  of  our 
City’s  treasures,  both  outdoors  and  within  its  art  museums. 
By  following  the  routes  outlined  and  not  attempting  to  see 
everything  in  one  visit,  “museum  fag”  may  be  reduced  to  a 
minimum.  For  those  who  can  devote  more  time  to  such  art 
“pilgrimages”  additional  trips  are  suggested.  Among  these 
are  the  New  York  Historical  Society,  which  has  a notable 
collection  of  paintings  by  old  masters  and  also  interesting 
Egyptian  objects;  the  Cooper  Union  Museum  of  Decorative 
Arts;  and  the  Print  Department  of  the  New  York  Public 
Library. 


Editorial  Note 


No  reference  has  been  made  to  private  collections,  with 
their  wonderful  treasures,  nor  even  to  the  beautiful  exteriors 
of  some  of  the  homes,  from  a feeling  that  personal  privacy 
ought  not  to  be  encroached  upon. 

Bulletins  and  other  printed  matter  issued  by  the  various 
museums  and  societies  have  been  freely  used  in  the  compila- 
tion of  this  Guide.  The  .writer’s  long  association  with  the 
art  world  of  New  York,  as  editor  of  the  “American  Art 
Annual”  and  as  a member  of  the  staff  of  the  Metropolitan 
Museum,  has  given  her  unusual  facilities.  Even  with  the 
greatest  care  errors  may  have  crept  in  and  it  will  be  appreci- 
ated if  these  are  communicated  to  the  editor  for  correction  in 
future  editions. 

F.  N.  L. 

May  8,  1916. 


CONTENTS 


Editorial  Note  .......  3 

List  of  Illustrations  ......  7 

Lower  Manhattan  Map  . . . . . 10 

Central  Manhattan  Map  . . . . . 11 

Four  Art  Pilgrimages 

1.  Three  Hours  in  the  Metropolitan  Museum  of 

Art 15 

2.  In  the  Brooklyn  Museum  . . . . 27 

3.  The  West  156th  Street  Group  33 

4.  From  the  Battery  to  Fifty-ninth  Street  . . 39 

Buildings  and  Sculpture  in  Manhattan  ...  44 

Buildings  and  Sculpture  in  Brooklyn  and  Bronx  . 49 

Buildings  and  Sculpture  in  Queens  and  Richmond  . 50 

Museums,  Libraries,  Exhibitions,  Societies  and  Clubs  51 

Art  Schools  .......  56 

Studio  Centers  . . . . . . *57 

Art  Dealers  ......  58 


5 


ILLUSTRATIONS 


i.  City  Hall Frontispiece 


Metropolitan  Museum 

2.  Armor  Hall  ....... 

3.  Egyptian  Galleries  ..... 

4.  “Virgin  and  Child  with  Saints,”  by  Raphael  . 

5.  “Bartolomeo  Bongo?”,  by  Morori  . 

6.  “Young  Woman  with  a Water  Jug,”  by  Vermeer 

7.  “Fane  and  his  Guardians,”  by  Reynolds 

8.  “Sun  Vow,”  by  MacNeil  .... 

9.  “Bacchante,”  by  MacMonnies 

10.  American  Silver  Tankard,  by  Samuel  Vernon 

11.  Coupe,  by  Cellini  ...... 

12.  “Mother,”  by  Lewin-Funcke  .... 

13.  “The  Hand  of  God,”  by  Rodin  .’ 

14.  “Philip  IV,”  by  Velazquez  .... 

15.  “Duke  of  Lennox,”  by  Van  Dyck  . 

16.  “Yonker  Ramp  and  his  Sweetheart,”  by  Hals  . 

17.  “Old  Woman  Cutting  her  Nails,”  by  Rembrandt 

18.  “Edge  of  the  Woods;”  by  Rousseau 

19.  “Head  of  an  Old  Man,”  by  Memling  . 

20.  “Lady  Lee,”  by  Holbein  .... 

21.  “Wolf  and  Fox  Hunt,”  by  Rubens  . 

22.  “Northeaster,”  by  Winslow  Homer 

23.  “King  Lear,”  by  Abbey  .... 

24.  “George  Washington,”  by  Stuart 

25.  “Henry  G.  Marquand,”  by  Sargent 

26.  “Boy  with  a Sword,”  by  Manet  . 

27.  “Theodore  Duret,”  by  Whistler  . 

28.  “Joan  of  Arc,”  by  Bastien-Lepage 

29.  Wing  of  Decorative  Arts  . 

30.  “Nativity,”  by  Rossellino  .... 

31.  “Epicurus,”  Greek  marble  .... 


FACE  PAGE 

14 

14 

15 

16 
16 

16 

17 
17 

1 7 

17 

17 

17 

18 
18 
18 

18 

19 
19 
19 

19 

20 
20 
20 

20 

21 

. 21 

21 
24 

24 

25 


7 


Illustrations 


32.  Young  Greek  Athlete  .......  25 

33.  Etruscan  Chariot  ........  25 

34.  Bronze  Roman  Boy  .......  25 

Brooklyn  Museum 

35.  Brooklyn  Museum,  Exterior  ......  26 

36.  “Madonna  Enthroned,”  by  Luini  .....  27 

37.  “James  A.  McNeill  Whistler,”  by  Boldini  ...  30 

38.  Chinese  Cloisonne  .......  31 

39.  “Young  Mother,”  by  Bessie  Potter  Vonnoh  ...  31 

40.  “Danaide,”  by  Rodin  .......  31 

West  156TH  Street  Group 

41.  Hispanic  Society  of  America  .....  32 

42.  American  Numismatic  Society  .....  32 

43.  “Duchess  of  Alba,”  by  Goya  .....  33 

44.  “Olivares,”  by  Velazquez  ......  33 

45.  Hispanic  Museum  Gallery  ......  33 

Art  in  New  York 

46.  “The  Ascension,”  by  La  Farge  .....  38 

47.  “General  Sherman  led  by  Victory,”  by  St.  Gaudens  . 38 

48.  “Girl  Reading,”  by  Frances  Grimes  ....  39 

49.  Hunt  Memorial,  D.  C.  French,  sculptor;  Post,  architect  . 39 

Maps  and  Plans 

A.  Manhattan,  Lower  .......  10 

B.  Manhattan,  Central  . . . . . . . 11 

C.  Metropolitan  Museum,  First  Floor  ....  12 

D.  Metropolitan  Museum,  Second  Floor  ....  13 

E.  Brooklyn  Museum  .......  26 

F.  West  156th  Street  Group  ......  32 


8 


Manhattan 


IO 


Manhattan 


1 1 


SECOND  FLOOR 


Metropolitan  Museum 


13 


Aletropolitan  Museum 


2.  Armor  Hall 


3.  Egyptian  Galleries 


Metropolitan  Museum 


4.  Virgin  and  Child  with  Saints,  by  Raphael 


THREE  HOURS  IN  THE  METROPOLITAN 
MUSEUM  OF  ART 


The  Metropolitan  Museum  of  Art  is  situated  in  Central 
Park,  with  the  main  entrance  on  Fifth  Avenue  at  82d  Street, 
the  building  extending  from  8oth  to  84th  Streets.  The  Fifth 
Avenue  stages  pass  the  door;  the  Madison-Fourth  Avenue 
cars,  one  block  east,  cross  the  subway  at  the  Grand  Central 
(42d  Street)  station  and  transfer  to  the  crosstown  cars  at 
59th  and  86th  Streets;  the  nearest  elevated  station  is  that 
of  the  Third  Avenue  at  84th  Street. 

The  Museum  is  open  daily:  Saturday  10  a.m.  to  10  p.m. ; 
Sunday  1 to  6 p.m.;  other  days,  including  legal  holidays,  10 
a.m.  to  6 p.m.  in  summer  or  5 p.m.  in  winter.  Admission 
on  Monday  and  Friday,  only,  is  25  cents;  all  other  days  and 
legal  holidays  are  free.  Restaurant  and  rest  rooms  are  in  the 
basement,  reached  by  the  northwest  stairway  of  the  central 
building;  public  telephone,  free  checking,  wheel-chairs,  and 
information  desk  are  at  the  Fifth  Avenue  entrance.  Expert 
guidance  by  a member  of  the  staff  may  be  secured  on  applica- 
tion to  the  Secretary;  the  charge  is  25  cents  a person  with 
a minimum  of  $1  an  hour. 

Entering  the  Museum  we  find  ourselves  in  an  impressive 
hall.  At  the  right  is  the  beginning  of  the  series  of  rooms 
devoted  to  the  Egyptian  section  (ill.  no.  3),  the  central 
feature  of  which  is  the  “Tomb  of  Perneb,”2  the  most  impos- 
ing Egyptian  monument  that  has  come  to  any  museum.  This 
tomb  of  a dignitary  who  lived  about  2650  B.C.,  originally 
stood  in  the  cemetery  at  Memphis  and  was  shipped,  block  by 
block,  to  New  York,  where  it  was  reerected  in  1916.  The 
Egyptians  thought  of  the  deceased  as  living  in  their  tombs 
accompanied  by  a “double”  and  that  it  was  necessary  for 
them  to  have  food  and  drink;  provision  for  these  was  made 
in  the  tomb  and  is  shown  on  the  walls  of  some  of  the  cham- 
bers where  the  colored  decorations  are  still  in  good  condition. 

2The  Tomb  of  Perneb. — 10. 


15 


Metropolitan  Museum 


Passing  to  the  left,  through  the  series  of  Egyptian  rooms, 
we  come  to  the  Armor  Hall3  (ill.  no.  2).  The  mounted 
knights  in  the  centre  give  a good  idea  of  the  brilliant 
and  colorful  pageant  of  the  period.  The  high  point  of 
armor  making  was  in  the  XVth  century,  shortly  after  the 
Crusades  and  before  the  widespread  use  of  fire-arms.  This 
period  includes  the  War  of  the  Roses,  Joan  of  Arc,  Louis  XI 
and  the  struggles  in  Florence  and  other  Italian  cities  during 
the  Renaissance.  Note  the  difference  in  accoutrement  be- 
tween the  mount  of  the  first  knight  in  his  tilting  armor,  pre- 
pared for  jousting,  and  those  behind  him,  equipped  for  real 
battle. 

Exhibits  of  special  interest  at  the  right  of  the  hall  include 
the  basinet  (helmet)  supposed  to  have  been  worn  by  Joan 
of  Arc  about  1400,  early  chain  armor,  and  a Burgundian 
tapestry  which  depicts  the  “Siege  of  Jerusalem.”  European 
arms  and  armor  are  continued  in  the  far  gallery,  H8,  contain- 
ing richly  decorated  harnesses  and  arms  of  the  middle  and 
second  half  of  the  XVIth  century  and  including  a number 
of  historical  objects.  Among  these  are  the  embossed  half- 
armor of  the  Duke  of  Alva  (case  104),  an  engraved  and 
gilded  half-armor  of  one  of  the  de’  Medici  (case  100),  two 
suits  of  Sir  James  Scudamore,  a gentleman  of  the  court  of 
Queen  Elizabeth  (cases  94  and  95),  and  a number  of  round 
shields  for  parade,  richly  engraved,  gilded  and  embossed. 
Coming  back  through  the  main  armor  hall  we  pass  a Rhodian 
tent  of  the  XVIth  century  which  was  probably  used  on 
some  battlefield.  Beyond  is  an  armorer’s  workshop,  showing 
the  various  tools  used  not  only  in  days  gone  by  but  actually 
to-day  by  the  man  employed  by  the  Museum  to  care  for  this 
collection. 

We  now  take  the  elevator  at  the  end  of  the  gallery  near 
where  we  entered,  and  ascend  to  the  second  floor.  Turning 
to  the  right,  galleries  E 10,  9,  and  8 are  devoted  to  the  textile 
collections.4  There  are  wonderful  pieces  of  point  lace  and 
the  finest  collection  of  Brussels  lace  outside  of  Belgium,  For 

3Arms  and  Armor,  European  and  Oriental. — .50. 

4Textiles  Bulletin.— .10. 


16 


Metropolitan  Museum 


5.  Portrait  by  Moroni 


6.  Young  Woman,  by  Vermeer 


7.  Fane  and  His  Guardians,  by  Reynolds 


Metropolitan  Museum 


10.  American 
Silver 


12.  Mother,  by  Lewin-Funcke 


13.  Hand  of  God,  by  Rodin 


8.  Sun  Vow,  by  MacNeil 


9.  Bacchante, 
by  MacMonnies 


11.  Coupe, 
by  Ce'llini 


Metropolitan  Museum 


those  specially  interested  in  the  textiles  there  is  a study  room 
with  thousands  of  examples  which  may  be  handled  at  leisure. 

Going  straight  ahead  we  can  see  the  jade  room,  gallery  4 
and  pass  thence  to  corridor  2.  Or  we  can  see  the  special 
exhibition,  which  is  changed  from  time  to  time,  in  E 11. 
This  leads  through  the  Persian  galleries  E 13  and  14,  where 
we  can  enjoy  the  delightful  color  in  the  alcove,  look  at  the 
manuscripts5  and  pass  through  room  3,  with  its  rugs,  to  cor- 
ridors 2 and  1.  Those  who  have  seen  enough  for  one  day 
can  take  the  elevator  here  to  the  main  door. 

Corridor  9,  at  the  left  of  the  main  stairway,  is  devoted  to 
small  sculpture  in  bronze  by  American  artists.  At  our  imme- 
diate left  is  the  bronze  group,  “Sun  Vow”  (ill.  no.  8),  by 
H.  A.  MacNeil,  which  shows  an  old  Indian  initiating  a youth 
into  one  of  the  tribal  ceremonies.  The  marble  relief  at  the 
far  end  of  the  corridor,  by  D.  C.  French,  is  the  central  sec- 
tion of  the  “Melvin  Memorial”  and  depicts  a mourning 
Victory  wrapped  in  an  American  flag,  which  she  lifts  from 
her  face  with  one  hand  while  with  the  other  she  holds  out  a 
branch  of  laurel. 

At  the  head  of  the  main  stairway  stands  the  bronze  “Por- 
trait of  a Roman  Boy”  (ill.  no.  34),  a Greek  work  of  the 
first  century  b.c.  The  rarity  of  bronze  statues  of  this  period 
and  the  high  quality  and  beautiful  preservation  of  this  speci- 
men make  it  one  of  the  most  valuable  bronzes  in  the  Mu- 
seum’s rich  collection  and  it  is  one  of  the  best  portrait  statues 
of  its  period  in  existence.  The  sculptor’s  fine  artistic  sense 
is  shown  in  the  graceful  pose,  the  boyish  charm,  and  the  ef- 
fective contrast  between  the  nude  torso  and  the  drapery 
about  the  lower  limbs. 

We  have  now  reached  gallery  11,  where  every  painting6  is 
of  importance.  In  the  place  of  honor  is  the  “Virgin  and  Child 
with  Saints”  (ill.  no.  4),  by  Raphael  (1473-1520).  The 
Colonna  Raphael,  as  it  is  called  because  it  belonged  for  more 
than  a century  to  the  Colonna  family  in  Rome,  was  painted 
in  1504-1505  for  the  nuns  of  the  Convent  of  St.  Anthony 

5Persian  Manuscripts. — 1.50. 

6Catalogue  of  Paintings,  1916. — .25. 

17 


Metropolitan  Museum 


of  Padua,  in  Perugia.  The  Virgin  sits  on  a raised  throne 
backed  with  a crimson  and  gold  hanging;  the  Child,  seated 
on  her  knee,  wears  a white  tunic  and  raises  his  hand  blessing 
the  infant  St.  John.  At  the  left  stand  St.  Peter  with  his 
keys  and  St.  Catherine  resting  on  her  wheel ; at  the  right  St. 
Paul  holds  his  sword  and  St.  Cecilia  is  crowned  with  red  and 
white  roses.  In  the  lunette  above,  God  the  Father  has  his 
hand  raised  in  blessing  and  is  attended  by  adoring  angels. 

In  the  corner  at  the  right  is  the  “Madonna  and  Child” 
by  Giovanni  Bellini  (1428-1516)  and  near  it  “Venus  and 
Mars  United  by  Love”  by  Veronese  (1528-1588),  both  Ve- 
netian artists.  Dutch  art  is  represented  by  a small  interior 
by  Vermeer  (1623-1675),  which  shows  a “Young  Woman 
with  a Water  Jug”  (ill.  no.  6)  standing  near  a window; 
two  portraits  by  Frans  Hals,  a “Landscape  with  Cattle” 
by  Cuyp  (1620-1691)  and  a landscape  by  Jacob  Ruisdael 
(1628-1682).  By  Flemish  artists  are  the  “Adoration  of  the 
Kings”  by  Massys  ( i46o?-i53o),  which  is  notable  for  its 
rich  color,  and  the  full  length  portrait  of  “James  Stuart, 
Duke  of  Lennox,”  with  his  dog  (ill.  no.  15),  one  of  the  best 
known  works  by  Van  Dyck  (1599-1641).  The  only  Ameri- 
can painting  in  the  room  is  John  S.  Sargents  portrait  of 
Henry  G.  Marquand  (ill.  no.  25),  President  of  the  Metro- 
politan Museum  from  1890  until  his  death  in  1902. 

The  Altman  collection7  occupies  five  galleries  immediately 
to  the  north  of  the  main  staircase.  Go  out  of  gallery  1 1 by 
the  right  hand  door  near  the  Veronese  and  as  you  enter  gal- 
lery 39  you  face  the  “Old  Woman  Cutting  her  Nails”  (ill. 
no.  17)  by  Rembrandt  (1606-1669),  one  of  thirteen  works 
in  this  room  by  this  greatest  of  Dutch  masters.  His  pro- 
found insight  into  human  nature,  his  power  to  make  us  see 
beauty  in  every  day  surroundings,  the  rich  color  and  simple 
arrangement  are  all-compelling.  Rembrandts  own  portrait, 
painted  when  he  was  54  years  of  age,  is  on  the  opposite  wall. 

Three  pictures  by  Hals  ( i584?-i666),  another  Dutch 
master,  are  brilliant  character  studies  showing  the  life  of  the 
gay  people  of  his  time,  which  he  portrayed  so  dexterously. 

7Handbook  of  the  Altman  collection. — .50. 

18 


Metropolitan  Museum 


16.  Yonker  Ramp,  by  Hals 


15.  Duke  of  Lennox,  by 
Van  Dyck 


17.  Cutting  Her  Nails, 
by  Rembrandt 


14.  Philip  IV, 
by  Velazquez 


Metropolitan  Museum 


18.  Edge  of  the  Woods,  by  Rousseau 


21.  Wolt  and  box  Hunt,  uy  Kuuciis 


19.  By  Memling 


20.  By  Holbein 


Metropolitan  Museum 


“Yonker  Ramp  and  his  Sweetheart”  (ill.  no.  16)  is  as 
typical  of  his  early  work  as  the  two  portraits  that  we  have 
just  seen  in  gallery  1 1 are  of  his  more  serious  achievements. 
Maes,  DeHooch,  Terborch  and  Jacob  Ruisdael  hold  our  at- 
tention here. 

Passing  into  gallery  38  we  find  furniture,  rugs,  sculpture, 
and  other  objects,  chiefly  of  the  Italian  Renaissance,  that  is, 
of  the  XVth  and  XVIth  centuries. 

Gallery  37  is  filled  with  other  paintings  of  the  Altman 
collection,  and  here,  as  in  the  Dutch  section,  every  picture  is 
worth  careful  study.  The  center  of  the  long  wall  is  occu- 
pied by  a portrait  of  “King  Philip  IV”  (ill.  no.  14)  by  the 
greatest  of  Spanish  painters,  Velazquez  (1599-1660).  Note 
the  rich  blacks  and  the  simple  dignified  pose.  At  right  and 
left  are  two  fine  portraits  by  Van  Dyck,  the  same  artist  who 
painted  the  “Duke  of  Lennox”  in  gallery  11.  At  the  left  are 
portraits  by  Giorgione  and  Titian.  On  the  south  wall  the 
“Marriage  of  St.  Catherine,”  the  “Head  of  an  Old  Man” 
(ill.  no.  19),  and  portraits  of  “Thomas  Portinari”  and  of  his 
wife,  “Marie,”  are  by  the  Flemish  painter  Memling  (1430?- 
1467?).  On  the  west  wall  there  are  pictures  by  Italian 
artists,  including  the  “Communion  of  St.  Jerome”  by  Botti- 
celli (i447?-i5io)  and  the  “Madonna  and  Child”  by  Ver- 
rocchio (1435-1488)  and,  on  the  right  of  the  door  way,  the 
“Madonna  and  Saints”  by  Mantegna  (1431-1506).  On  the 
north  wall  are  two  fine  portraits  of  “Margaret  Wyatt,  Lady 
Lee”  (ill.  no.  20),  and  “Lady  Rich,”  by  the  German  master, 
Holbein  (1497-1543),  also  a “Virgin,  Child  and  St.  Anne” 
by  Diirer  (1471-1528). 

The  cases  in  the  centre  of  the  room  contain  the  smaller 
objects  of  the  Altman  collection  including  jewelry,  enamels 
and  rock  crystals.  One  of  the  chief  treasures  is  the  cup,  or 
salt  cellar,  of  gold  and  enamel  by  Benvenuto  Cellini  (1500- 
I57o)  called  the  “Rospigliosi  Coupe”  (ill.  no.  11)  because  it 
belonged  for  a long  time  to  the  Rospigliosi  family  in  Rome. 
“The  sumptuousness  of  the  design,  the  subtlety  of  its  work- 
manship, and  the  richness  of  the  enameling  correspond  to  a 
taste  of  which  no  other  artist  of  the  time  was  capable.  A 

19 


Metropolitan  Museum 


fantastic  dragon  with  wings  outstretched  supports  the  basin 
and  is  in  turn  supported  by  a tortoise  enameled  in  yellow 
and  black.  But  it  is  upon  the  sphinx,  seated  on  the  rim  of 
the  shell,  that  Cellini  has  lavished  the  utmost  resources  of  his 
workmanship.” 

Passing  now  into  galleries  36  and  37  we  feel  the  restful  in- 
fluence of  the  Chinese  porcelains. 

It  is  easy  from  here  to  go  to  the  wing  of  decorative  arts, 
although  in  this  three  hour  “pilgrimage”  it  is  wiser  to  see 
only  the  lower  floor,  to  which  we  will  come  a little  later. 
On  this  upper  floor  French  furniture  will  be  found  in  the 
rooms  at  the  right  and  the  English  and  American  at  the  left. 
If  it  is  desired  to  see  the  paintings  more  thoroughly  it  is  here 
that  the  chronological  arrangement  begins.  Immediately  next 
to  the  porcelain  room  are  the  Primitives  in  gallery  34;  the 
Italians  are  continued  through  33,  31  (from  which  the  jewel 
room  opens),  30,  and  29  (contains  the  Moroni  portrait,  ill. 
no.  5);  the  Spanish  in  28;  Flemish  in  27  (contains  works 
by  Rubens  including  the  “Wolf  and  Fox  Hunt,”  ill.  no. 
21)  ; Dutch  in  26;  and  French  and  British  in  24  (here  is  the 
large  Reynolds  “Hon.  Henry  Fane  with  his  Guardians, 
Inigo  Jones  and  Charles  Blair,”  ill.  no.  7). 

The  three  hour  “pilgrimage”  plans  to  see  American  and 
other  XIXth  century  paintings  by  returning  through  the 
Altman  galleries  38  and  39  to  gallery  12,  which  contains 
paintings  by  American  artists  of  the  XVIIIth  and  XIXth 
centuries.  Notable  among  these  is  a group  of  portraits  by 
Gilbert  Stuart  (1755-1828)  including  a “Head  of  Washing- 
ton” (ill.  no.  24)  painted  from  sittings  given  in  Philadel- 
phia in  1795.  Here  will  be  found  landscapes  by  the  so  called 
“Hudson  River  School,”  and  by  the  trio  of  great  landscapists 
of  the  end  of  the  XIXth  century,  Inness,  Wyant  and  Mar- 
tin. If  desired,  the  stairway  and  main  door  can  be  reached 
from  here  through  gallery  1 1 . 

Paintings  by  contemporary  Americans  are  continued  in 
gallery  13  and  14  (contains  “Northeaster”  by  Winslow 
Homer,  ill.  no.  22).  The  end  wall  of  13  is  filled  by  the  large 
canvas  by  Abbey  (1852-1911)  notable  for  its  rich  color.  It 

20 


Metropolitan  Museum 


Metropolitan  Museum 


26.  Boy  with  Sword, 
by  Manet 


27.  Duret, 
by  Whistler 


28.  Joan  of  Arc,  by  Bastien-Lepage 


Metropolitan  Museum 


depicts  a scene  from  Shakespeare’s  play  of  King  Lear  (ill. 
no.  23)  where  Cordelia  bids  farewell  to  her  elder  sisters, 
Goneril  and  Regan,  while  her  father,  the  aged  king,  is  being 
led  away  by  his  attendants.  Those  who  wish  to  see  all  the 
collection  of  paintings  by  French  artists  of  the  XIXth  cen- 
tury, should  pass  through  gallery  15,  where  there  are  older 
paintings  of  several  schools,  to  the  modern  French  collection 
in  16,  17  (contains  “Edge  of  the  Woods”  by  Rousseau,  ill. 
no.  18),  18  (here  will  be  found  the  marble  group  “Mother” 
by  Lewin-Funcke,  ill.  no.  12),  19  and  20.  A good  impres- 
sion of  the  French  collection  can,  however,  be  gained  by  re- 
turning through  the  corner  of  gallery  12  and  passing  direct 
through  corridor  22,  which  contains  cases  of  silver,  chiefly  by 
American  craftsmen  of  the  XVIIth  and  XVIIIth  centuries 
(ill.  no.  10)  to  gallery  20,  with  its  French  paintings  of  the 
latter  part  of  the  XIXth  century.  Here,  at  the  left,  is  “Joan 
of  Arc”  (ill.  no.  28)  by  Bastien-Lepage  (1848-1884).  The 
wonderful  eyes  of  the  French  peasant  heroine  hold  our  at- 
tention almost  to  the  exclusion  of  the  vision  which  the  artist 
has  indicated  in  the  background  by  vague  floating  figures 
of  St.  Michael  in  armor,  St.  Catherine  in  adoration  and 
St.  Margaret,  weeping.  At  the  opposite  end  are  several 
pictures  and  studies  by  the  great  mural  painter,  Purvis  de 
Chavannes  (1824-1898).  One  long  wall  holds  several 
noted  pictures  by  Manet  (1832-1883)  including  his  “Boy 
with  a Sword”  (ill.  no.  26).  On  the  opposite  wall  is  the 
famous  original  “Horse  Fair”  by  Rosa  Bonheur  (1822- 

1899). 

Gallery  21  contains  paintings  by  Sargent,  Homer,  Chase, 
Ranger  and  other  Americans,  including  six  by  Whistler 
(1834-1903).  The  most  interesting,  and  one  of  the  most  im- 
portant works  by  this  artist,  is  the  portrait  of  the  French 
writer  and  critic,  Theodore  Duret  (ill.  no.  27),  who  is 
shown  full  length,  standing,  in  evening  dress  with  a pink 
domino  thrown  over  his  arm  as  though  about  to  enter  a ball 
room.  Whistler  painted  this  portrait  of  his  friend  to  prove 
that  it  was  possible  to  make  an  interesting  picture  of  a man 
in  the  characteristic  costume  of  today,  the  pink  domino  serv- 


21 


Metropolitan  Museum 


ing  as  a color  note  and  also  to  break  the  stiff  lines.  Whis- 
tler’s butterfly  signature  appears  at  the  right. 

At  this  point  the  northwest  stairway  leads  directly  to  the 
restaurant.  If  the  three  hour  “pilgrimage”  is  being  followed 
go  down  this  stairway  and  on  the  main  floor  turn  to  the 
right  where  will  be  found  the  musical  instruments.8  This 
remarkable  collection  consists  of  about  4,000  key-boards  and 
instruments  of  all  nations  and  includes  the  earliest  known 
piano,  that  made  by  Cristofori  in  1720. 

Passing  thence  through  several  galleries  of  casts9  we  come 
to  the  entrance  of  wing  F,  which  is  devoted  to  the  decorative 
arts.10  Here,  in  a series  of  25  galleries,  is  installed  the  col- 
lection of  George  Hoentschel  of  Paris,  which  was  purchased 
by  J.  Pierpont  Morgan  and  presented  to  the  Museum  and 
to  which  numerous  other  objects  have  been  added.  Gothic 
and  Renaissance  furniture,  sculpture,11  woodwork  and  tapes- 
tries are  installed  in  the  main  hall  (ill.  no.  29)  and  in  the 
series  of  westerly  rooms  on  the  ground  floor.  The  XVIIIth 
century  decorative  arts,  mainly  French,  are  in  the  east  series 
of  rooms  on  both  floors  while  the  English  and  American 
objects  are  on  the  west  side  of  the  second  floor. 

The  central  hall  has  tapestries  hung  on  the  walls,  majolica 
and  other  small  objects  in  the  cases,  and  large  pieces  of  sculp- 
ture are  attractively  displayed.  At  the  far  end,  beneath  a 
marble  canopy,  is  a notable  group  of  the  “Nativity”  (ill.  no. 
30)  by  the  Italian  sculptor  Rossellino  (1427-1478).  Going 
into  F 4 at  the  left  we  find  Gothic  stained  glass  and  carved 
chests,  while  in  the  adjoining  corner,  F 3,  are  two  marble 
groups  from  the  Chateau  de  Biron,  French  work  of  the  early 
XVIth  century.  The  group  of  “The  Entombment”  ranks  as 
one  of  the  noblest  renderings  of  the  subject,  consisting  as  it 
does  of  eight  figures,  nearly  life  size,  attended  by  a choir  of 
five  angels,  the  whole  set  in  a richly  ornamented  frame.  Go- 
ing out  into  the  main  hall  we  find  at  the  left  a small  room 
whose  carved  wood  paneling  of  the  early  XVIIth  century 
?Crosby  Brown  Collection  of  Musical  Instruments. — 1.00. 
illustrated  Catalogue  of  Casts. — .50. 

10Wing  of  Decorative  Arts,  Bulletin. — .10. 
i:1Romanesque,  Gothic  and  Renaissance  Sculpture. — 1.00. 

22 


Metropolitan  Museum 


came  from  Switzerland,  and  here  the  tiled  stove  and  all  the 
furniture  are  of  about  the  same  period.  Returning  through 
the  series  of  ground  floor  rooms  at  the  left  we  pass  through 
two  with  French  furniture  and  one  composite  and  find  our- 
selves back  at  the  entrance  among  the  casts.  Thence,  keeping 
straight  ahead  we  come  to  the  Greek  and  Roman  bronzes.12 
The  most  important  piece  is  the  Etruscan  Chariot  (ill.  no. 
33)  which  dates  from  the  Vlth  century  B.C.,  and  is  the  only 
complete  ancient  bronze  chariot  known,  besides  being  one  of 
the  most  important  examples  of  ancient  repousse  work.  It 
was  found  in  1902  in  a tomb  near  Monteleone  in  Umbria, 
Italy,  and  was  then  in  fragments.  After  reaching  the  Mu- 
seum the  thin  bronze  plates  were  cleaned  and  remounted  on 
wood  much  as  they  were  originally.  The  decorations  are 
in  panels  and  the  scene  on  one  side  shows  a man  standing  in 
a chariot  of  the  same  shape  as  this  piece.  Most  of  the  statu- 
ettes, vases  and  other  objects  in  this  hall  are  of  unusual  beauty 
and  rarity. 

By  going  out  through  the  right  hand  archway  it  is  pos- 
sible from  here  to  reach  the  architectural  court  and  see  the 
interesting  models  of  the  Great  Hall  at  Karnak,  the  Parthe- 
non, the  Pantheon,  Notre  Dame  de  Paris,  and  of  the  hall  of 
the  mediaeval  castle  of  Penshurst.  Thence  to  the  Cypriote 
antiquities,13  Greek  vases,  and  ancient  glass.14 

The  time  limit  of  the  “pilgrimage,”  however,  necessitates 
our  leaving  the  room  of  bronzes  by  the  left  archway  and  we 
find  ourselves  facing  a large  marble  group  of  two  colossal 
figures  “Two  Natures,”  by  the  American  sculptor,  George 
Grey  Bernard,  typifies  the  struggle  between  higher  ideals  and 
the  evil  passions  that  is  constantly  going  on  within  each  one 
of  us. 

Opposite  this  is  a large  plaster  cast  of  “The  Thinker,”  by 
the  greatest  contemporary  French  sculptor,  Rodin.15  The 
original  of  this  life  size  figure  is  in  the  Place  du  Pantheon, 
Paris.  The  artist’s  monumental  conception,  La  Porte  de 

12Greek,  Roman  and  Etruscan  Bronzes. — 5.00. 

13Cesnola  Collection  of  Antiquities  from  Cyprus. — 3.00. 

14The  Room  of  Ancient  Blass,  Bulletin. — .10. 

15Sculptures  by  Auguste  Rodin. — .25. 

23 


Metropolitan  Museum 


l’Enfer  (Gate  of  Hell),  which  was  commissioned  by  the 
French  Government  in  1880  for  the  Musee  des  Arts  Deco- 
ratifs  of  Paris,  but  is  still  incomplete,  shows  three  despairing 
shades  looking  down  on  the  woe  of  the  world  and  dominating 
all  is  the  “Thinker,”  of  which  we  here  see  a small  bronze 
replica.  It  should  always  be  borne  in  mind  when  looking  at 
some  of  Rodin’s  isolated  figures  that  many  of  them  are 
adapted  from  this  large  group;  such  is  the  case  with  the 
“Adam”  and  the  “Eve”  in  the  long  gallery  13,  which  is  en- 
tirely devoted  to  Rodin’s  work.  Here  all  phases  of  his  art  are 
shown — the  vivid  realism  of  his  portraits,  the  larger  treat- 
ment of  the  “Pygmalion  and  Galatea”  and  of  the  “Brother 
and  Sister,”  and  the  idealism  of  “The  Hand  of  God”  (ill.  no. 
13 ).  At  the  foot  of  the  main  stairway  stands  his  Age  d’Airin 
(Age  of  Bronze),  primitive  man  in  the  struggle  of  awaken- 
ing from  the  dark  ages  into  full  consciousness. 

Three  contemporary  American  sculptors  are  represented 
here  by  works  in  bronze — the  “Bacchante”  (ill.  no.  9)  by 
MacMonnies,  with  her  free,  breezy  movement,  is  the  original 
which  was  rejected  by  the  Boston  Public  Library;  the  “Bear 
Tamer,”  by  Bartlett;  and  the  group  of  the  “Mares  of  Dio- 
medes”  by  Gutzon  Borglum. 

Before  leaving  the  Museum  turn  to  the  right  and  pass 
through  gallery  8 looking  at  some  of  the  charming  terra  cotta 
figurines  found  at  Tanagra  and  other  cities  in  Greece,  Asia 
Minor,  and  Lower  Italy.  Go  through  the  far  door,  turn  to 
the  left  and  in  the  south  end  of  the  main  entrance  hall 
are  some  important  original  Greek  and  Roman  marbles. 
The  Museum’s  classical  collection  is  unusually  rich  in  well 
preserved  marbles.  Among  the  most  interesting  are  the 
nearly  life  size  figure  of  an  old  “Market  Woman”  with  her 
basket,  a low  relief  of  a “Youthful  Horseman,”  a strong  head 
of  “Epicurus”  (ill.  no.  31)  and  the  bust  of  a “Young 
Athlete”  (ill.  no.  32),  a Greek  work  of  the  IVth  century 
b.c.  This  last  is  in  marvelously  good  condition  and  its  great 
beauty  places  it  among  the  works  executed  under  the  direct 
influence  of  Praxiteles,  probably  by  a member  of  his  school. 

For  those  who  want  to  study  the  Museum  thoroughly  there 

24 


Metropolitan  Museum 


30.  Nativity,  by  Rossellino 


Metropolitan  Museum 


Metropolitan  Museum 


are  many  collections  scarcely  mentioned  in  this  brief  pilgrim- 
age— the  14  galleries  of  the  Egyptian  collections;  the  tapestry 
hall,  gallery  6;  Oriental  art;  metal  work  of  various  kinds; 
the  library  in  a separate  wing.  Study  rooms,  class  rooms, 
lecture  hall,  lantern  slides,  photographs  and  the  services  of  an 
instructor  are  among  the  numerous  facilities  offered  to  stu- 
dents. Besides  the  special  publications  noted  at  the  bottom 
of  the  pages,  the  Museum  publishes  a monthly  Bulletin  which 
gives  valuable  articles  regarding  new  accessions  and  is  a per- 
manent record  of  the  growing  collections. 

Florence  N.  Levy. 


25 


Central  Section 


Brooklyn  Museum 


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26 


Brooklyn  Museum 


Brooklyn  Museum 


IN  THE  BROOKLYN  MUSEUM 


The  Brooklyn  Museum  is  on  Eastern  Parkway,  in  the 
Borough  of  Brooklyn.  From  Manhattan  take  the  Subway  to 
Atlantic  Avenue  station,  then  the  Flatbush  Avenue  surface 
car  to  Eastern  Parkway.  On  leaving  the  car  one  is  at  the 
Plaza  entrance  to  Prospect  Park,  where  is  located  the  Me- 
morial Arch  surmounted  by  a quadriga,  “Victory,”  and  with 
side  groups  of  the  “Army”  and  the  “Navy”  by  Frederick 
MacMonnies. 

Turning  east,  walk  two  blocks  to  the  Museum.  The 
building  is  open  daily : 9 a.m.  to  6 p.m.  ; Sunday  2 to  6 p.m.  ; 
Thursday  evening  7.30  to  9.45.  Admission  is  free,  except 
Monday  and  Tuesday,  when  a fee  of  25  cents  is  charged 
for  adults  and  10  cents  for  all  under  the  age  of  16;  all  holi- 
days are  free.  Expert  guidance  may  be  secured  on  applica- 
tion. 

Entering  the  Museum  take  the  elevator  at  the  end  of  the 
corridor  to  the  third  floor,  which  is  entirely  devoted  to  art. 
On  the  walls  of  the  landing  are  large  photographs  of  Gothic 
cathedrals,  of  special  interest  to  architects. 

Passing  into  the  central  section  (A)  one  finds  an  important 
collection  of  lace,  which  covers  three  of  the  best  centuries  of 
lace  making. 

In  gallery  5,  at  the  entrance  to  the  American  paintings,  are 
representative  water  colors  by  Winslow  Homer,  and  a case 
of  charming  statuettes  by  Bessie  Potter  Vonnoh  (ill.  no.  39). 

The  majority  of  the  collection  of  American  paintings  is  the 
work  of  living  men.  The  sunny  landscapes  of  Groll,  Red- 
field,  Symons,  the  marines  of  Carlsen,  Tracy,  and  Waugh 
and  the  figure  studies  of  Henri,  Reid  and  Hassam  are  notable 
in  the  first  alcoves. 

Somewhat  more  subdued  are  the  pictures  by  Gruppe, 
Genth,  Ranger,  Mura,  Murphy,  Swain  Gifford  and  others  in 
the  second  division.  In  the  third,  several  pictures  by  Chase — 
interiors,  portraits,  still  life;  characteristic  landscapes  by  In- 

27 


Brooklyn  Museum 


ness;  and  canvases  by  Whistler,  LaFarge  and  others,  offer 
much  that  is  enjoyable  not  only  in  subject  but  also  in  color 
and  brush  work. 

Then  follows  the  room  of  smaller  paintings  by  Dewing, 
Cornoyer,  Boggs,  Richards  and  others.  The  western  alcove 
is  filled  with  works  by  XVIIIth  and  early  XIXth  century 
American  artists.  Especially  interesting  are  the  Copley  por- 
traits of  Anstice  Greenleaf  and  Jonathan  Mountford,  Trum- 
bull's Alexander  Hamilton,  Peale’s  George  Taylor  and  two 
portraits  by  Inman. 

Unusual  in  selection  of  subject,  brilliant  in  color,  swift  and 
marvelous  in  handling  are  the  eighty  or  more  Sargent  water 
colors  in  gallery  3,  adjoining.  Mr.  Sargent  has  registered 
here  those  delightful  fleeting  glimpses  that  really  compose 
one’s  impression  of  the  place. 

The  next  gallery  and  alcoves  are  hung  with  many  pictures 
of  a detailed  technique  in  marked  contrast  to  those  just  seen. 
The  French  painter,  James  Tissot,  has  presented  as  faithfully 
as  possible  the  entrancing  scenes  of  “The  Life  of  Our  Lord 
Jesus  Christ.”  To  do  it  the  artist  went  to  the  Holy  Land 
and  recorded  the  exact  aspect  of  things  with  the  deliberate 
intention  of  dispelling  the  inaccurate  and  vague  view  in  the 
minds  of  most  people,  regarding  the  setting  of  the  Gospel 
story. 

The  Woodward  collection  of  jade  is  installed  in  the  room 
opening  out  of  the  Tissot  gallery.  It  includes  a comprehen- 
sive selection  of  various  classes  of  objects  which  the  Chinese 
have  been  accustomed  to  fashion  from  the  stone  which  they 
so  greatly  admire. 

Retracing  one’s  steps  to  section  A,  one  finds  in  the  corridor 
and  under  the  dome,  several  pieces  of  sculpture,  including  the 
“Danaide”  (ill.  no.  40),  by  the  great  French  sculptor  Rodin. 
Here  also  are  casts  of  Renaissance  sculpture.  On  the 
corridor  wall  hang  important  pictures.  A design  for  a 
stained  glass  window,  “Christ  Sitting  in  Judgment,”  by 
Burne-Jones;  “Crucifixion,”  by  the  School  of  Murillo;  and 
three  pictures  by  John  La  Farge,  studies  for  mural  decora- 
tions— “Angel  of  the  Sun”  and  two  called  “Adoration.”  Just 

28 


Brooklyn  Museum 


here  there  is  a choice  collection  of  XVIth  to  XVIIIth  century 
watches,  including  one  that  belonged  to  Lord  Nelson,  and 
number  92  made  for  the  Royal  family  of  France  in  the 
XVI Ith  century. 

Verestchagin’s  large  “Crucifixion  in  the  Time  of  the 
Romans”  hangs  near  the  entrance  to  the  small  room  which 
leads  to  the  European  gallery.  Small  pictures  and  drawings 
are  in  this  room.  As  one  enters  the  first  alcove  Bouguerau’s 
lovely  nude,  “The  Lost  Pleiad,”  attracts  the  eye.  Verest- 
chagin’s two  Russo-Turkish  War  canvases  occupy  the  walls 
by  the  doorway.  The  other  pictures  are  chiefly  modern 
French,  English,  and  Spanish. 

Many  familiar  names  are  to  be  found  in  the  second  di- 
vision. Fantin-Latour’s  “Portrait  of  Mme.  Leon  Maitre” 
is  in  the  centre  of  the  left  wall.  Vollon,  Couture,  Dupre, 
Barye,  Isabey,  Diaz,  Daubigny,  Corot,  Courbet,  Gericault, 
Decamps,  and  Dausnier,  complete  the  group.  Opposite, 
Boldini’s  strong  portrait  of  the  American  painter,  Whistler 
(ill.  no.  37)  occupies  the  centre  of  the  wall  with  various 
other  Italian  paintings  to  the  right  and  left.  Perrault, 
Bouguereau,  Harpignies,  Lhermitte,  Mesdag,  Israels,  Maris 
and  others  occupy  the  third  section. 

Beyond,  in  the  small  hall,  are  most  interesting  old  Italian 
frescoes  of  the  XVth  and  XVIth  centuries,  such  as  are  sel- 
dom seen  outside  of  Italy.  These  are  done  on  plaster  and 
have  mainly  been  cut  from  fagades  of  houses. 

In  the  last  room  hangs  the  “Madonna  Enthroned”  (ill. 
no.  36)  by  Bernardino  Luini  ( 1475  ?-i533),  which  domi- 
nates the  long  vista  from  the  Dome  Room.  It  is  one  of  the 
world’s  great  pictures  and  in  excellent  condition. 

Returning  to  the  elevator,  descend  past  the  second  floor, 
which  contains  exhibits  of  natural  history,  to  the  first  floor. 
Here  the  Avery  collection  of  Chinese  cloisonnes  is  opposite  the 
elevator.  The  collection  is  the  most  remarkable  one  on  pub- 
lic exhibition  in  the  Western  world  as  regards  the  quality, 
number,  and  average  size  of  the  exhibits.  The  colossal  in- 
cense burner  in  the  form  of  a conventional  lion  (ill.  no.  38) 
and  a temple  shrine  are  of  special  interest.  There  is  also  a 

29 


Brooklyn  Museum 


dog  cage  from  the  Imperial  Palace  and  statues  of  an  Em- 
press and  of  a Lady  in  Waiting. 

The  chief  works  of  interest  in  the  American  sculpture  gal- 
leries 5,  6,  and  the  corridor  of  A,  are  the  marble  replica  of 
the  “Dancing  Figure”  by  Pratt  from  the  central  panel  of  the 
frieze  on  the  Boston  Opera  House;  “Christ  and  St.  John  in 
the  Cornfields,”  by  Partridge;  “Venus  and  Adonis,”  and  a 
marble  replica  of  the  “Bacchante”  by  MacMonnies. 

In  this  central  section  the  Barye  bronzes  are  found,  one  of 
the  most  important  collections  of  this  artist’s  work,  both  in 
numbers  and  in  the  excellence  of  its  specimens. 

In  galleries  7,  8,  and  9 are  arranged  various  small  but  rep- 
resentative and  very  beautiful  collections.  It  is  scarcely  pos- 
sible to  do  more  than  mention  them.  The  Egyptian  and  pre- 
historic collection  is  mainly  the  result  of  the  work  of  one 
excavator.  Notice  the  rare  carved  ivory  handle  of  a flint 
knife  in  the  wall  case. 

The  Tiffany  glass  is  a representative  exhibit.  Beside  this 
is  Venetian  glass  of  the  XVIth,  XVIIth,  and  XVIIIth  cen- 
turies. 

There  follow  cases  of  Saracenic  and  Persian  pottery,  Ital- 
ian majolica,  and  a collection  of  English  glass.  The  Wood- 
ward collection  of  Greco-Roman  glass  in  gallery  8 contains 
some  very  rare  pieces.  Here  also  are  some  Roman  pavement 
mosaics  and  a beautiful  Pompeian  frescoe. 

Gallery  9 is  filled  with  textiles  and  the  wall  cases  with 
European  porcelain  and  majolica.  The  stained  glass  window 
representing  a woman  scattering  roses  is  by  LaFarge.  Tex- 
tiles are  also  in  gallery  10.  Number  49  is  a very  early  em- 
broidery, 1400  A.  D. ; the  cope,  no.  29,  has  the  Venetian  arms 
upon  it.  The  enameled  terra  cotta  lunette  in  this  room, 
“The  Resurrection,”  is  the  largest  work  by  Giovanni  della 
Robbia  that  is  known  outside  of  Italy. 

Returning  to  the  central  section,  the  west  wing  is  filled 
with  an  American  Indian  exhibit,  and  we  continue  our  tour 
by  descending  to  the  ground  floor.  Here,  turning  toward  the 
entrance  of  the  Museum,  we  descend  a few  steps  to  the 
Japanese  exhibit,  which  covers  a period  from  about  three 

30 


Brooklyn  Museum 


37.  Whistler,  by  Boldini 


Brooklyn  Museum 


38.  Chinese  Cloisonne 


39.  Young  Mother, 
hv  Yonnoh 


40.  Danaide,  by  Rodin 


Brooklyn  Museum 


hundred  years  ago  down  to  the  time  when  the  Western  influ- 
ence began  to  be  felt.  It  is  arranged  by  subjects — showing 
costumes,  manners  and  customs,  games,  household  utensils, 
festivals,  armor,  shrines,  and  also  the  making  of  Japanese 
color  prints. 

Returning  to  the  corridor  opposite  the  elevator,  we 
see  the  very  fine  collection  of  Oriental  costumes.  This  is 
also  arranged  by  subject  and  displays  beautiful  textiles  and 
embroideries  in  characteristic  designs.  The  period  repre- 
sented is  the  last  hundred  years.  At  the  end  of  the  hall  is 
a seated  Tibetan  statue,  Kwanon,  Goddess  of  Mercy. 

Beyond  this  corridor  is  the  Print  Gallery,  which  was  or- 
ganized in  1914  and  contains  selections  from  an  entire  col- 
lection of  between  3,000  and  4,000  prints  by  modern  Amer- 
ican and  European  artists.  There  are  a number  of  good 
examples  by  Whistler  and  Pennell.  In  a small  room  is  an 
exhibit  of  print  processes — tools,  blocks,  and  the  plates  made 
from  them.  An  etching  press  has  been  installed  for  the  free 
use  of  the  public.  At  the  end  of  the  gallery  is  the  Museum 
library  of  about  22,000  volumes  and  an  interesting  picture 
file  available  for  use  in  the  Public  Schools.  There  is  an 
auditorium  seating  about  1,500.  Motion  pictures  are  occa- 
sionally shown. 

Helen  Greenleaf. 


31 


155tj  ^ 


32 


IgGft  STREET 


. ' ' ' 


Hispanic-N umismatic 


41.  Hispanic  Society  of  America 


42.  American  Numismatic  Society 


Hispanic  Museum 


43.  Duchess  of  Alba, 
by  Goya 


44.  Olivares, 
by  Velazquez 


45.  Hispanic  Museum 


THE  WEST  156TH  STREET  GROUP 


There  is  an  art  center  on  the  upper  west  side  of  Manhat- 
tan that  will  well  repay  a visit.  Take  the  Subway  to  Broad- 
way and  157th  Street.  Note  that  during  the  more  quiet 
hours  of  the  day  way  trains  do  not  go  up  so  far  and  it  is  there- 
fore sometimes  necessary  to  change  at  the  first  express  station 
— -Grand  Central,  72d  Street  or  96th  Street.  Leaving  the 
Subway,  walk  down  one  street  and  you  will  see  an  attractive 
group  of  buildings  occuping  an  entire  block.  All  are  open 
free,  daily  10  a.m.  to  5 p.m.  Sunday  hours  vary- — the  His- 
panic Museum  is  open  the  same  as  other  days,  the  Numis- 
matic Society  from  1 to  5,  and  the  Geographic  from  2 to  5. 

At  the  corner  of  Broadway  and  156th  Street  is  the  Ameri- 
can Geographical  Society,  founded  in  1852  and  the  oldest 
geographical  society  in  the  United  States.  From  the  south 
entrance,  on  the  court,  one  goes  to  the  exhibition  hall,  where, 
from  time  to  time,  there  are  special  displays  of  maps.  The 
building  is  really  a working  library,  rich  in  reference  ma- 
terial. On  the  upper  floors  there  are  about  50,000  volumes 
and  33,000  maps  and  manuscripts.  The  oldest  original  piece 
is  a map  of  the  world  made  in  1452  by  Giovanni  Leardo. 

Going  up  the  brick  paved  terrace  we  now  reach  the  cen- 
tral and  largest  building  of  the  group,  the  home  of  the  His- 
panic Society  of  America.  It  is  a long  low  building  of  In- 
diana limestone.  The  main  fagade  consists  of  engaged 
Ionic  columns  and  the  frieze  bears  the  names  of  Colum- 
bus, Cervantes,  Lope  de  Vega,  Camoens,  Loyola,  and  Velaz- 
quez. The  “building  is  dedicated  to  the  Memory  of  Collis 
Potter  Huntington,”  and  was  the  gift  of  his  son,  Archer  M. 
Huntington,  to  whose  personal  interest  is  due  the  entire  set- 
ting of  the  group. 

The  purpose  of  the  Hispanic  Society  is  the  “advancement 
of  the  study  of  the  Spanish  and  Portuguese  languages,  lit- 
erature, history  and  art.”  The  Museum  is  primarily  for  the 
use  of  members  of  the  Society  and  for  students.  The  Ref- 

33 


Pilgrimage  Three 


erence  Library,  located  in  the  western  wing,  is  freely  opened 
to  students.  It  contains  many  valuable  manuscripts  and 
about  75,000  volumes,  including  current  Spanish  periodicals. 

luThe  Interior  of  the  building  suggests  a Spanish  patio ; 
but  as  the  ground  floor  is  arranged  as  a reading-room,  the 
architect  has  introduced  a glass  roof.  Let  us  accompany  a 
Stranger  who,  maybe,  enters  this  unique  museum  for  the  first 
time.  Ascend  the  stairs,  noting  the  tiles  and  mosaics  em- 
bedded in  the  walls,  belonging  to  the  periods  of  the  Roman 
domination  and  the  Moorish  occupation.  He  passes  on  to  the 
gallery  and  leaning  over  the  balustrade  gazes  down  upon  the 
patio  reading-room.  Austere  but  comfortable  look  the  ma- 
hogany library  tables  on  terra-cotta  bases.  He  notices  that 
piers  of  that  warm,  imperishable  substance,  decorated  in  re- 
lief with  coat-of-arms  of  Spanish  provinces  and  cities,  sup- 
port the  galleries,  and  spring  upward  to  the  roof.  He  ob- 
serves that  round  the  four  walls  range  Spanish  pictures. 
The  decorative  effect  is  magnificent  even  if  all  the  works 
be  not  masterpieces.  On  the  south  wall  facing  him  are  a 
range  of  large  portraits  of  Spanish  nobilities ; the  north  wall 
glitters  with  Spanish  Primitives,  some  gold-crusted  in  the 
manner  of  Crivelli,  the  uncouth  splendor  of  Byzantium  over 
all;  to  the  east  he  notes,  if  he  is  something  of  a connoisseur 
in  painting,  the  saccharine  religiosity  of  Murillo  ( 1617- 
1682),  and  the  gaunt,  elongated  types  of  El  Greco  (1545?- 
1614)  ; and  on  the  west  wall  a fine  Goya  (1746-1828),  an 
attractive  rendering  of  the  much-painted  Duchess  of  Alba 
(ill.  no.  43),  who  is  pointing  to  the  signature  of  the  artist  at 
her  feet.  Near  this  is  a direct  and  forceful  portrait  of  Gen- 
eral Foraster,  more  restrained  than  is  usual  with  Goya,  who 
would  sometimes  paint  a portrait  in  a day,  working  from 
morn  till  evening,  ‘in  absolute  silence,  with  extraordinary 
concentration  and  vigor.’ 

“Although  the  pictures  are  not  all  of  the  first  rank,  in  their 
environment  and  regal  position  on  the  walls  they  seem  to  re- 
create Spain  with  a force  more  vivid  than  is  produced  by  the 

Trom  an  article  by  C.  Lewis  Hind  in  the  1908  “International 
Studio,”  and  used  here  by  special  permission. 

34 


Pilgrimage  Three 


Spanish  masters  adorning  the  galleries  of  London  and  Vienna. 
I linger  before  a portrait  by  Juan  de  Pareja,  first  slave  and 
then  servant  of  Velazquez,  who  accompanied  his  master  to 
Rome  when  he  visited  the  Eternal  City  for  the  second  time. 
In  that  year  Velazquez  produced  the  incomparable  portrait 
of  Pope  Innocent  X,  which  hangs  in  a room  of  the  Doria 
Palace.  Velazquez’s  brush  had  been  idle  for  months,  and 
‘to  get  his  hand  in’  he  painted  a trial  picture  of  his  servant. 
It  created  a sensation.  The  Romans  when  they  saw  it  said : 
‘All  else  seems  painting,  this  alone  truth.’  On  the  walls  of 
the  Hispanic  Society,  Juan  appears  as  an  artist  on  his  own 
account,  and  many  worse  works  are  produced  today  by  emi- 
ment  painters  than  this  portrait  by  the  body-servant  of  Velaz- 
quez, who  ‘practiced  painting  in  secret,’  and  did  not  blush  to 
find  it  known. 

“To  students  of  Velazquez  the  ‘Head  and  Shoulders  of  a 
Cardinal’  is  of  surpassing  interest.  It  is  a magnificent  work, 
distinguished  by  the  apparent  ease  of  the  recondite  craftsman- 
ship, the  just  values  and  the  reticent  but  forceful  color  that 
we  associate  with  Velazquez.”  Two  other  words  by  the  mas- 
ter hang  on  this  wall — the  portrait  of  the  Count-Duke  of 
Olivares  (ill.  no.  44),  Prime  Minister  of  Philip  IV,  and 
that  of  a little  girl  believed  by  Beruete  to  be  the  grand- 
daughter of  the  artist. 

“Then  our  Stranger’s  eyes  drop  from  Velazquez  and 
Goya  to  the  glass  cases  that  stand  treasure-full  against  the 
walls  here  a rare  collection  of  old  Spanish  treasures — crosses, 
monstrances,  carvings,  images;  there  specimens  of  primitive 
pottery  followed  by  carvings  on  ivory  dating  from  the  era 
of  the  Phoenicians.  Yonder,  against  the  south  wall,  is  an 
array  of  Hispano-Mauresque  luster  ware.  These  beautiful 
objects  dazzle  while  they  charm;  the  eyes  turn  almost  with 
relief  from  their  iridescent  loveliness  to  the  calmer  beauty 
of  the  illuminated  manuscripts  and  the  Spanish  volumes  rang- 
ing from  the  first  book  printed  in  Spain  with  movable  type 
in  1475  to  the  manuscript  of  George  Borrow’s  ‘Bible  in 
Spain.’  ” 

Descending  to  the  main  floor  we  turn  to  the  right,  past 

35 


Pilgrimage  Three 


chests,  carved  and  inlaid,  which  tell  of  long  voyages  at  sea, 
past  carvings,  paintings  and  textiles  that  speak  of  long  ago,  to 
the  far  eastern  end  of  the  hall,  under  the  gallery,  where  there 
are  two  alabaster  marble  altars,  one  of  the  XV th  and  the 
other  of  the  XVIth  centuries.  They  were  erected  to  the 
memory  of  the  Duke  and  Duchess  of  Albuquerque  and  both 
came  from  the  monastery  of  San  Francisco  de  Cuellar,  Prov- 
ince of  Segovia. 

“These  tombs,  the  sculptures  and  the  Greek  and  Roman 
torso  excavated  at  Santiponce,  near  Seville,  need  all  the  space 
allotted  to  them  under  the  east  gallery.  This  corridor  of 
marbles,  blocked  at  one  end  by  a magnificent  tomb,  is  like  a 
lonely  side  chapel  in  a cathedral.  Standing  in  this  diminu- 
tive temple  of  silence  and  reconciliation  it  is  dfficult  to  be- 
lieve that  one  is  in  the  neighborhood  of  156th  Street,  New 
York.  That  mute  woman  in  nun’s  robe  and  rope  girdle! 
That  silent  warrior  in  armor  with  a lion  crouching  at  his 
feet!  How  still  they  are  yet  how  eloquent  of  a past  long 
vanished  yet  persuasively  with  us.” 

Returning  through  the  same  corridor  we  find  that  opposite 
the  entrance  there  are  swinging  frames.  Here  paintings 
by  Sorolla  and  other  modern  Spanish  artists  are  closely 
packed.  Also  by  Sorolla  are  the  portraits  of  King  Alphonso 
XIII  and  Queen  Victoria,  the  present  rulers  of  Spain.  The 
personal  charm  of  this  beautiful  little  museum  is  so  human 
that  we  feel  that  we  have  learned  to  know  and  love  the 
people  whose  life  story  it  tells  and  we  leave  it  reluctantly 
promising  ourselves  another  visit  at  an  early  date. 

Nestling  close  to  the  main  structure,  in  fact  attached  to  its 
westerly  end,  is  the  little  building  of  the  American  Numis- 
matic Society,  the  only  numismatic  society  in  the  world  es- 
tablished in  its  own  building,  one  devoted  exclusively  to 
numismatics. 

The  main  exhibition  room  (ill.  no.  42)  contains  cases  in 
the  centre  where  the  exhibits  are  frequently  changed.  The 
wall  cases  are  notable  for  the  artistic  quality  of  the  plaques 
and  medallions,  chiefly  by  modern  foreign  and  American 
artists  of  note.  These  selections  from  the  Society’s  collection 

36 


Pilgrimage  Three 

are  the  best  products  of  the  “sculptors  in  small,”  and  all  are 
worth  careful  study. 

On  the  four  central  columns  are  swinging  cases  containing 
decorations  and  insignia,  perhaps  the  most  complete  general 
collection  in  existence.  On  one  side  of  the  gallery  are  the 
dies  used  for  the  medals  issued  by  the  Society  and  particu- 
larly fine  impressions  of  each.  There  are  25  of  these  medals, 
dating  from  the  Lincoln,  struck  in  1866  from  dies  cut  by 
Emil  Sigel,  to  the  J.  Pierpont  Morgan  Memorial  Medal, 
designed  by  Emil  Fuchs  in  1913.  The  collection  contains 
in  all  about  100,000  pieces  and  there  are  about  3,000  books 
and  pamphlets  in  the  reference  library  on  the  upper  floor. 
Here  is  displayed  the  well  rounded  collection  of  coins  of  all 
countries  from  the  earliest  times  to  the  present  day.  There 
is  a remarkably  strong  group  of  historical  medals  and  some 
10,000  pieces  of  confederate  and  old  United  States  paper 
money.  Special  facilities  are  offered  to  students  and  the 
members  of  the  Society. 

On  a lower  level  and  west  of  the  Numismatic  Society  is 
located  the  little  Spanish  Church  of  Our  Lady  of  Hope. 
Everything  here  is  on  a small  scale,  but  charming  in  propor- 
tion. 

Returning  now  to  Broadway  we  find  a more  imposing 
church  at  the  corner  of  155th  Street — The  Chapel  of  the 
Intercession  of  Trinity  Parish,  set  in  the  old  Trinity  Ceme- 
tery. It  is  a fine  example  of  Gothic  architecture,  the  win- 
dows filled  with  colored  leaded  glass;  the  vaulted  wooden 
ceiling  carved  and  colored.  The  architect  of  this  Gothic 
church  is  Bertram  Goodhue;  the  pulpit,  choir  stalls,  organ 
loft  and  entrance  screen  are  elaborately  carved  by  Kirch- 
mayer,  while  the  exterior  stone  carvings  are  by  Lowrie, 

Leaving  the  church  we  are  in  full  view  of  the  Hudson 
River,  but  the  stage  which  goes  down  Riverside  Drive  stops 
at  135th  Street.  Take  the  subway,  therefore,  from  157th 
Street  to  137th  Street,  walk  two  blocks  down  Broadway 
and  then,  for  ten  cents,  it  is  possible  to  have  one  of  the 
most  delightful  rides  in  the  world.  Imagine  ourselves  on 
top  of  the  “bus”  with  the  Hudson  River  gleaming  on  the 

37 


Pilgrimage  Three 


right  and  its  steep  far  banks  crowned  with  verdure  and  a few 
houses.  On  our  left  rise  tall  apartment  houses  separated 
from  the  river  by  the  narrow,  irregular  Riverside  Park. 
Here  and  there  are  notable  monuments.  The  Viaduct  Bridge 
at  125th  Street,  Grant’s  Tomb  at  I22d  Street,  the  roofs  of 
Columbia  University  buildings  extending  from  121st  to  1 14th 
Street,  the  Joan  of  Arc  statue  by  Anna  Vaughan  Hyatt  at 
93rd  Street,  the  Soldiers  and  Sailors  Monument  by  A.  and 
C.  Stoughton  at  90th  Street  and  so  down  through  72d  Street 
and  Broadway  to  the  Columbus  Monument  and  the  Maine 
Memorial  at  59th  Street,  through  57th  Street  and  down 
Fifth  Avenue  to  Washington  Square  at  4th  Street. 

Another  point  that  might  be  included  in  this  “pilgrimage” 
is  the  Hall  of  Fame  which  is  especially  beautiful  at  the  sun- 
set hour.  Walk  one  block  east  through  155th  Street  to 
Amsterdam  Avenue,  take  the  surface  car  up  to  1 8 1 st  Street 
and  transfer  to  a University  Avenue  car.  This  crosses 
Washington  Bridge  over  the  Harlem  River  and  takes  you  to 
New  York  University,  in  the  Borough  of  the  Bronx.  Cross 
the  campus  and  the  colonnade  beyond  the  library  is  the  Hall 
of  Fame,  where  tablets  record  the  names  of  famous  men  and 
women  of  the  United  States.  From  its  height  there  is  a 
wide  view  over  the  end  of  Manhattan  island  to  the  Hudson 
River  and  the  distant  Palisades. 


38 


Art  in  New  York 


Art  in  New  York 


48.  Girls  Reading,  by  Grimes 


49.  Hunt  Memorial,  by  French  Post,  Architect 


FROM  THE  BATTERY 
TO  FIFTY-NINTH  STREET 


To  the  visitor  in  New  York  who  begins  his  art  pilgrimage 
at  the  Battery,  architecture  is  that  form  of  design  which 
makes  the  most  profound,  the  most  stirring  impression  on 
him.  Although  there  are  several  interesting  examples  of 
plastic  and  pictorial  art  within  the  confines  of  this  civic 
breathing  place,  it  is  the  enormous  bulk  of  towering  build- 
ings to  the  northward  of  Battery  Park  that  dominates 
eye  and  spirit  alike.  Most  of  them,  it  is  true,  have 
little  architectural  significance  beyond  size,  but  at  the  very 
margin  of  the  Battery  wall  is  a structure,  the  United  States 
Barge  Office,  that  does  possess  artistic  significance  in  its  ele- 
ments of  the  Italian  Renaissance  style.  Also,  at  the  north- 
erly end  of  the  park  is  the  classical  Custom  House  designed 
by  Cass  Gilbert,  the  same  man  who  created  the  beautiful 
tower  of  the  Woolworth  Building  that  crowns  the  vista  of 
Broadway  looking  uptown  from  the  Battery. 

In  Battery  Park  proper  the  sculptures  and  memorials  in- 
clude the  small  fountain  erected  to  the  memory  of  wireless 
operators  lost  at  sea  in  performance  of  their  duty,  the  statue 
of  John  Ericsson  by  J.  Scott  Hartley,  and  the  heroic  bust  of 
Verazzano  erected  to  commemorate  the  visit  to  this  harbor 
in  1524  of  the  great  Italian  navigator.  In  the  little  circle 
called  Bowling  Green,  in  front  of  the  Custom  House,  is 
the  handsome  bronze  seated  figure  of  Abraham  de  Peyster,  by 
George  E.  Bissell. 

The  facade  of  the  Custom  House  represents  the  growing 
fashion  in  America  of  adding  “color”  to  public  buildings 
through  the  use  of  sculpture.  On  four  plinths  that  are  part 
of  the  architectural  scheme  are  colossal  groups  by  Daniel 
Chester  French  typifying  America,  Europe,  Asia  and  Africa; 
while  on  the  attic  across  the  fagade  are  twelve  heroic  figures 
representing  the  great  sea  powers  through  their  most  famous 
navigators.  Within  the  building,  in  the  office  of  the  Collector 

39 


Pilgrimage  Four 


of  the  Port,  is  a series  of  ten  mural  paintings  showing  the 
Colonial  ports  of  the  seventeenth  century,  painted  by  Elmer 
E.  Garnsey. 

From  the  Custom  House  the  visitor  may  best  make  his 
way  afoot  through  the  canyon  of  Broadway  that  Joseph 
Pennell  has  made  known  by  his  etchings,  to  Trinity  Church, 
standing  in  its  ancient  green  churchyard  at  the  head  of  Wall 
Street.  This  handsome  example  of  Gothic  architecture  was 
designed  by  R.  N.  Upjohn  and  was  begun  in  1840.  Its  sec- 
ondary artistic  feature  is  the  pair  of  bronze  doors  by  Karl 
Bitter,  erected  as  a memorial  to  John  Jacob  Astor,  first  of 
his  name  in  this  city.  A few  blocks  to  the  north,  at  Fulton 
Street,  is  St.  Paul’s  Chapel,  one  of  the  Trinity  parish 
churches  and  one  of  the  three  semi-public  buildings  now 
standing  that  were  in  existence  in  New  York  in  Revolution- 
ary days.  It  was  built  by  McBean  in  1764  and  its  design 
was  strongly  influenced  by  the  manner  of  Sir  Christopher 
Wren,  the  great  English  architect.  Its  interior  is  purely 
Georgian  and  on  the  Broadway  fagade  of  the  building  is  an 
interesting  example  of  mortuary  art  in  the  form  of  a relief 
tablet  in  honor  of  General  Richard  Montgomery. 

Above  the  Post  Office,  that  has  been  called  the  ugliest 
building  in  America,  is  City  Hall  Park,  in  the  center  of  which 
stands  the  City  Hall  (frontispiece)  that  has,  and  not  with- 
out some  justice,  been  styled  the  most  beautiful  public  build- 
ing in  the  United  States.  It  was  designed  by  John  McComb 
and  was  completed  in  1814,  its  Italian  Renaissance  character 
being  affected  somewhat  by  the  pillared  portico  and  cupola 
of  the  neo-classical  English  style  of  the  eighteenth  century. 

The  City  Hall  is  a veritable  treasure  house  of  early  Amer- 
ican art.  Within  its  halls  and  rooms  are  hung  portraits  of 
great  Americans  of  the  early  days  of  the  nation  by  such  dis- 
tinguished painters  as  John  Trumbull,  Thomas  Sully,  John 
Wesley  Jarvis,  John  Vanderlyn,  Samuel  L.  Waldo,  S.  F.  B. 
Morse,  Henry  Inman,  Charles  Loring  Elliott,  and  Thomas 
Hicks.  The  Governor’s  Room,  on  the  second  floor,  contains 
many  interesting  pieces  of  official  furniture  used  by  George 
Washington  and  some  of  the  other  “fathers”  of  the  country. 

40 


Pilgrimage  Four 


This  room  and  the  adjoining  ones  of  the  suite  have  recently 
been  restored  to  harmonize  with  the  period  of  the  structure 
and  have  become  works  of  art  in  themselves.  The  Council 
Chamber  across  the  hall  is  another  interesting  room,  owing  to 
the  perfection  of  its  proportions  and  of  its  Georgian  style  of 
decorations.  On  the  upper  floor  of  the  building  are  the  rooms 
of  the  Municipal  Art  Commission,  well  worth  a visit  owing 
to  the  fact  that  one  of  them  is  completely  furnished  with 
Colonial  and  Dutch  furniture  that  has  come  down  to  us  from 
the  eighteenth  and  seventeenth  centuries. 

In  the  park  before  the  City  Hall  stands  MacMonnies’s 
statue  of  Nathan  Hale,  one  of  the  finest  statues  in  the  city 
and  as  stirring  as  the  story  of  Hale’s  career.  Across  Park 
Row,  in  what  is  officially  styled  Printing  House  Square,  is 
Plassman’s  statue  of  Benjamin  Franklin,  while  before  the 
Tribune  Building  is  J.  Q.  A.  Ward’s  seated  figure  of  Horace 
Greeley,  the  founder  of  that  newspaper. 

The  Hall  of  Records  on  Chambers  Street,  at  the  north 
end  of  the  park,  is  ornamented  with  forty-five  statues,  includ- 
ing portraits  of  former  mayors  of  the  city,  single  figures  rep- 
resenting the  arts  and  sciences,  and  groups  and  figures  typify- 
ing the  seasons,  the  law,  and  civic  spirit.  Crowning  the 
lofty  Municipal  Building,  whose  arched  passage  across  Cham- 
bers Street  forms  such  a striking  feature  at  this  corner  of 
the  park,  is  Weinmann’s  gilded  statue  typifying  the  spirit  of 
the  city.  Standing  within  the  archway,  the  Woolworth 
Building  looms  up  in  the  full  beauty  of  its  fifty-one  stories. 

A short  walk  up  Centre  Street  takes  the  visitor  to  the 
Criminal  Courts  Building,  that  contains  the  first  mural  paint- 
ing presented  to  the  city  by  the  Municipal  Art  Society,  an 
organization  devoted  to  encouraging  the  cultivation  of  civic 
art.  The  painting  is  by  Edward  Simmons,  its  subject  being 
“Justice  Attended  by  the  Rights  of  Man  and  the  Fates.” 

Returning  to  Broadway,  one  of  its  cars  can  be  taken  to  the 
corner  of  Tenth  Street,  where  Grace  Church  forms  an  end 
to  the  vista  and  with  its  graceful  spire,  gardens  and  rectory, 
makes  an  artistic  oasis  in  a thoroughfare  given  over  wholly 
to  utilitarian  commercial  buildings.  Designed  by  James  Ren- 

41 


Pilgrimage  Four 


wick,  Jr.,  it  is  a gem  of  Gothic  art  and,  while  its  interior 
contains  no  noteworthy  works  of  art,  the  beauty  of  its  pro- 
portions makes  it  well  worth  seeing. 

Westward  through  Tenth  Street  for  two  blocks  the  visitor 
may  walk  to  Washington  Square,  with  its  Memorial  Arch 
designed  by  Stanford  White  in  1899  to  commemorate  the 
centennial  of  Washington’s  inauguration.  Up  Fifth  Avenue, 
at  the  corner  of  Eleventh  Street  stands  the  Church  of  the 
Ascension,  famed  for  La  Farge’s  mural  painting  of  the  As- 
cension (ill.  no.  46),  that  is  considered  to  be  one  of  his 
finest  works. 

A stage  may  be  taken  to  Madison  Square,  at  the  northern 
corner  of  which  is  Augustus  St.  Gaudens’s  statue  of  Admiral 
Farragut,  pictured  on  the  deck  of  his  vessel.  This  and  the 
Sherman  statue  rank  as  his  finest  works  in  New  York  City. 
At  the  northeastern  corner  of  the  square  is  the  Madison 
Square  Garden,  designed  by  Stanford  White,  with  its  beau- 
tiful tower  crowned  by  another  of  St.  Gaudens’s  works,  the 
gilded  Diana.  The  Appellate  Court  Building,  on  the  east 
side  of  the  square  at  26th  Street,  is  well  worth  a half-hour 
to  see  its  mural  decorations  and  exterior  sculpture. 

Continuing  in  a Fifth  Avenue  stage  to  Fortieth  Street, 
the  visitor  will  be  at  the  New  York  Public  Library,  that  is 
an  art  museum  as  well.  The  building  was  designed  by  Car- 
rerre  and  Hastings  and  on  the  Fifth  Avenue  facade,  on  each 
side  of  the  main  entrance,  are  figures  by  MacMonnies  typify- 
ing Beauty  and  Truth,  while  above  the  entrance  are  the  first 
of  a series  of  figures  by  Paul  Bartlett  typifying  Drama, 
Poetry,  Religion,  Romance,  and  Philosophy.  In  the  pedi- 
ments at  each  end  of  the  building  are  groups  representing 
Science  and  Arts  by  George  Grey  Barnard.  In  the  rear  of 
the  building,  facing  Bryant  Park,  is  a seated  figure  in  bronze 
by  Herbert  Adams  of  the  poet  for  whom  the  park  was 
named.  On  the  top  floor  of  the  library  are  permanent  ex- 
hibitions of  paintings  and  prints  that  are  free  to  visitors  dur- 
ing the  day. 

At  Fiftieth  Street  and  Fifth  Avenue  stands  St.  Patrick’s 
Cathedral,  designed  by  James  Renwick,  a superb  example 

42 


Pilgrimage  Four 


of  Gothic  architecture,  and  its  interior  is  a “thing  of  beauty” 
owing  to  the  good  proportions  of  its  nave,  crossing  and  choir. 

The  end  of  this  portion  of  the  visitor’s  pilgrimage  is 
reached  nine  blocks  to  the  north,  where  the  Plaza  serves  as 
the  gateway  to  Central  Park.  Here  is  the  Pulitzer  fountain 
that  is  crowned  by  one  of  Karl  Bitter’s  sculptures.  Just 
within  the  park  itself  stands  St.  Gaudens’s  superb  equestrian 
statue  of  “General  Sherman  led  by  Victory”  (ill.  no.  47). 

The  Fifth  Avenue  stages  continue  up  the  Avenue,  past 
the  Hunt  Memorial  (ill.  no.  49),  erected  at  70th  Street  to 
face  his  most  notable  achievement,  the  Lenox  Library,  since 
removed.  The  Memorial  was  the  gift  of  all  the  art  societies 
of  the  city,  the  sculptor  being  D.  C.  French  and  the  architect 
G.  B.  Post.  Continuing  along  the  side  of  Central  Park,  at 
8ad  Street  the  Metropolitan  Museum  is  reached. 

W.  B.  McCormick. 


43 


BUILDINGS  AND  SCULPTURE  OF  ARTISTIC 
AND  HISTORIC  INTEREST 


Note. — First  paragraph  of  each  section  of  the  City  gives  build- 
ings, the  second  paragraph  notes  sculpture.  Descriptive  catalogue 
is  issued  by  the  Art  Commission  of  the  City. 

BOROUGH  OF  MANHATTAN 
BELOW  WALL  STREET 

U.  S.  Barge  Office,  73  Pearl  Street — First  Dutch  tavern,  later 
the  Stadhuys.  Custom  House,  Bowling  Green — Cass  Gilbert, 
architect;  groups  of  four  Continents  by  D.  C.  French;  single  figures 
by  various  sculptors;  murals  by  E.  E,  Garnsey.  Fraunces’  Tav- 
ern, Broad  and  Pearl  Streets — Built  1719;  historic  associations. 
Trinity  Church,  Broadwav  and  Wall  Street — Upjohn,  architect; 
bronze  doors  by  Bitter,  Niehaus  and  Rhind ; churchyard  monu- 
ments. Stock  Exchange,  Broad  Street — Post,  architect;  pediment 
group  by  Ward;  single  figures  by  Bartlett. 

From  Batery  Park  view  of  Statue  of  Liberty  by  Bartholdi.  In 
Park:  Ericsson  by  J.  S.  Hartley;  Verrazzano  by  Ximenes;  Cannon 
by  J.  & R.  Lamb;  Wireless  Operators’  Fountain  by  Hewitt  & 
Bottomley;  Abraham  de  Peyster  by  Bissell  in  Bowling  Green; 
Washington  by  Ward,  Broad  and  Wall  Streets. 

WALL  TO  CANAL  STREET 

National  Park  Bank,  214  Broadway — murals  by  Albert  Herter. 
Chemical  Bank,  270  Broadway — murals  by  Taber  Sears.  Na- 
tional Bank  of  Commerce,  31  Nassau  Street — murals  by  C.  Y. 
Turner.  St.  Paul’s  Chapel,  Broadway  and  Fulton  Street  in  its 
church  yard.  City  Hall,  City  Hall  Park;  open  free  daily  10  a.m. 
to  4 p.m.  (pilgrimage  4)  ; John  McComb,  architect,  erected  1803-12, 
restored  1908-15;  about  100  portraits  by  artists  of  early  XlXth 
century  and  good  old  furniture.  County  Court  House,  City  Hall 
Park — reliefs  and  tablets  to  distinguished  jurors.  Municipal 
Building,  Centre  and  Chambers  Streets — McKim,  Mead  & White, 
architects;  exterior  reliefs  by  A.  A.  Weinman;  murals  in  Comp- 
troller’s offices.  Hall  of  Records,  Centre  and  Chambers  Streets — 
exterior  sculpture;  portraits  in  Surrogate’s  Court.  Criminal 
Courts  Building,  Centre  Street  between  White  and  Walker  Streets 
— murals  (3)  in  Court  Room  by  E.  E.  Simmons,  gift  of  the  Mu- 
nicipal Art  Society;  Foster  Memorial  relief  by  Bitter;  -window  by 
Armstrong. 

Benjamin  Franklin  by  Plassmann  and  Horace  Greeley  by 
Ward  in  Park  Row.  Bowne  Fountain,  Roosevelt  and  South 
Streets.  Nathan  Hale  by  MacMonnies,  City  Hall  Park.  Jacob  H. 
Schiff  Fountain  in  Seward  Park,  Canal  and  Jefferson  Streets; 
A.  W.  Brunner,  architect 


44 


Manhattan 


EAST— CANAL  TO  23D  STREET 

Cooper  Union,  Third  Avenue  and  8th  Street  (see  Museums  and 
Schools).  St.  Mark’s  Church,  Second  Avenue  and  10th  Street — 
oldest  church  site  on  the  island;  Peter  Stuyvesant,  buried  1672, 
lies  in  the  grave  yard.  Hebrew  Technical  School  for  Girls, 
Second  Avenue  and  15th  Street — murals  by  F.  L.  Stoddard.  St. 
George’s  Church,  Stuyvesant  Place,  16th  Street — polychrome . in- 
terior decorations.  Washington  Irving  High  School,  Municipal 
Gallery,  Irving  Place,  16th  and  17th  Streets — relief  by  Frances 
Grimes  (ill.  no.  48),  murals  by  Barry  Faulkner,  both  gifts  of 
Municipal  Art  Society. 

Sullivan  Fountain  by  Thomas  Lamb,  Delancey  Street  and  the 
Bowery.  Peter  Cooper  by  Augustus  St.  Gaudens,  Cooper  Square, 
Third  Avenue  and  7th  Street.  S.  S.  Cox  by  Louise  Lawson,  Astor 
Place.  Slocum  Fountain  by  Bruno  Zimm,  Tompkins  Square,  Ave- 
nue A and  7th  Street. 

WEST— CANAL  TO  23D  STREET 

Grace  Church,  Broadway  and  10th  Street — Renwick,  architect; 
windows  by  Burne-Jones,  La  Farge  and  Frederick  Wilson.  Judson 
Memorial  Church,  Washington  Square,  South,  4th  Street — Stan- 
ford White,  architect;  decorations  and  windows  by  La  Farge;  Bap- 
tistery reliefs  by  Herbert  Adams.  Colonial  Houses  on  north  side 
of  the  Square.  Washington  Arch — Stanford  White,  architect. 
Church  of  the  Ascension,  Fifth  Avenue  and  10th  Street — mural 
paintings  over  the  altar  (ill.  no.  46)  and  four  windows  by  La 
Farge;  other  windows  by  Armstrong,  Crowninshield,  Humphrey 
Johnson,  Lauber,  Tiffany  and  J.  Alden  Weir;  angels  in  relief 
over  altar  by  Louis  St.  Gaudens. 

Firemen's  Monument,  Hudson  Park. 

Alexander  L.  Holley  by  Ward  and  Garibaldi  by  Turini  in 
Washington  Square.  Lincoln  by  H.  Kirke  Brown,  Lafayette  by 
Bartholdi,  Washington  by  Ward  and  Kirke  Brown  and  a Foun- 
tain by  Donndorf,  all  in  Union  Square,  14th  Street  and  Broadway. 

EAST— 23 D TO  42D  STREET 

Fuller  Building  (Flatiron),  Broadway  and  23d  Street — D.  B. 
Burnham  & Co.,  architects.  Metropolitan  Life  Building,  i Madi- 
son Avenue — LeBrun  and  Son,  architects;  notable  for  its  clock 
tower.  Madison  Square  Presbyterian  Church,  Madison  Avenue 
and  24th  Street — Stanford  White,  architect;  mural  paintings  and 
windows  by  Louis  C.  Tiffany;  polychrome  exterior  decorations. 
Appellate  Court  Building,  Madison  Avenue  and  25th  Street — 
J.  B.  Lord,  architect;  exterior  sculpture  by  various  artists;  impor- 
tant mural  decorations  by  Armstrong,  Blashfield,  Cox,  Lauber, 
Maynard,  Metcalf,  Mowbray,  Reid,  Simmons,  Turner,  and  H.  O. 
Walker.  Madison  Square  Garden,  Madison  Avenue  and  27th 
Street — Stanford  White,  architect;  tower  modeled  on  that  of  the 

45 


Manhattan 


Giralda  at  Seville,  topped  by  Diana  by  St.  Gaudens.  Church  of 
the  Transfiguration  (Little  Church  around  the  Corner),  i East 
29th  Street — memorial  window  to  Edwin  Booth  and  mural  paint- 
ings by  La  Farge;  numerous  windows  of  foreign  make;  many 
paintings  both  originals  and  copies;  some  original  sculpture. 

Chester  A.  Arthur  by  Bissell ; Roscoe  Conkling  by  Ward; 
Farragut  by  Augustus  St.  Gaudens,  with  Stanford  White  as  archi- 
tect; Wm.  H.  Seward  by  Randolph  Rogers;  and  Wm.  J.  Worth 
by  James  G.  Baterson,  all  in  Madison  Square. 

WEST— 23 D TO  42D  STREET 
Pennsylvania  Station,  Seventh  Avenue  and  32d  Street — McKim, 
Mead  and  White,  architects;  six  topographical  landscapes  by 
Jules  Guerin;  sculpture  by  Weinman.  Hotel  Martinique,  Broad- 
way and  33d  Street — mural  decorations  by  Beckwith,  Shean,  Tur- 
ner and  Wiles.  Hotel  Waldorf-Astoria,  Fifth  Avenue  and  34th 
Street — murals  by  Armstrong,  Blashfield,  Crowninshield,  Dodge, 
Fowler,  Low,  Maynard,  Simmons  and  Turner.  Herald  Building, 
Broadway  and  35th  Street — McKim,  Mead  and  White,  architects; 
modeled  after  Palazzo  del  Consiglio,  Verona.  Brick  Presbyterian 
Church,  Fifth  Avenue  and  37th  Street — interior  majolica  decora- 
tions designed  by  LaFarge.  New  York  Public  Library,  Fifth 
Avenue  40th  to  42d  Streets — Carrere  and  Hastings,  architects;  ex- 
terior sculpture  by  Bartlett,  MacMonnies,  Barnard  and  Potter. 
Empire  Theatre,  Broadway  and  40th  Street — murals  by  Dodge. 

Horace  Greeley  by  Alexander  Doyle,  Broadway  and  33d  Street. 
Wm.  Earl  Dodge  by  Ward,  Broadway  and  35th  Street.  Washing- 
ton Irving  by  Friedrich  Beer;  James  Marion  Sims  by  Ferdinand 
von  Miller;  Lowell  Memorial  Fountain  by  Charles  A.  Platt  and 
William  Cullen  Bryant  by  Herbert  Adams,  all  in  Bryant  Park, 
back  of  Public  Libray. 

EAST— 42D  TO  59TH  STREET 
Grand  Central  Station,  43d  Street  and  Park  Avenue — Warren 
and  Wedmore,  architects.  Manhattan  Hotel,  Madison  Avenue 
and  42d  Street — H.  J.  Hardenburg,  architect;  murals  by  Cox, 
Crowninshield,  Shean  and  Turner.  Temple  Emmanu-El,  Fifth 
Avenue  and  43d  Street — Moorish  architecture.  St.  Bartholomew’s 
Church,  Madison  Avenue  and  44th  Street — carved  doorway; 
murals  by  Lathrop.  St.  Patrick’s  Cathedral,  Fifth  Avenue  and 
50th  Street — Renwick,  architect;  built  1850-79;  Gothic.  St. 
Thomas’  Church,  Fifth  Avenue  and  53d  Street — Cram,  Goodhue 
& Ferguson,  architects;  Gothic.  Hotel  St.  Regis,  Fifth  Avenue 
and  55th  Street — murals  by  Sewell.  Hotel  Plaza,  Fifth  Avenue 
and  59th  Street — murals  by  Shean. 

Pulitzer  Fountain,  Fifth  Avenue  at  58th  Street — Thomas  Hast- 
ings, architect;  Bitter,  sculptor. 

46 


Manhattan 


WEST — 42D  TO  59TH  STREET 

Knickerbocker  Hotel,  Broadway  and  43d  Street — murals  by 
Finn  and  Parrish.  Times  Building,  Broadway  and  43d  Street; 
tower.  Harris  Theatre,  354  West  43d  Street — murals  by  Lichte- 
nauer.  New  Amsterdam  Theatre,  314  West  43d  Street- — murals 
by  Blum,  Florian  Peixotto,  and  Wenzell.  Belasco  Theatre,  115 
West  44th  Street — -murals  by  Shinn.  Hotel  Algonquin,  59  West 
44th  Street,  murals  by  Dodge.  Hotel  Astor,  Broadway  and  44th 
Street-murals  by  Dodge.  Church  of  St.  Mary  the  Virgin,  139 
West  46th  Street — LeBrun,  architect;  exterior  and  interior  sculp- 
ture by  Rhind;  murals  in  Lady  Chapel  by  Daingerfield ; wood- 
carving by  Kirchmayer.  Hotel  Devon,  70  West  55th  Street — 
murals  by  Dodge.  Hotel  Wellington,  Seventh  Avenue  and  55th 
Street — murals  by  Stoner. 

CENTRAL  PARK  SCULPTURE 

59TH  TO  IIOTH  STREET 

Sherman  preceded  by  “Victory”  by  Augustus  St.  Gaudens,  Fifth 
Avenue  and  59th  Street  (ill.  no.  47).  Humboldt  by  Gustav  Blaeser, 
59th  Street  and  Fifth  Avenue  entrance.  Thomas  Moore  by  D.  B. 
Sheahan,  59th  Street  and  Fifth  Avenue  entrance.  Maine  Monu- 
ment by  H.  Van  Buren  Magonigle,  architect,  and  Attilio  Piccirilli, 
sculpture;  59th  Street  and  8th  Avenue  entrance.  Commerce  by 
Jules  Fesquet,  near  Columbus  Circle  entrance.  Columbus  by  J. 
Sunol,  south  entrance  to  Mall.  Shakespeare  by  Ward,  south  en- 
trance to  Mall.  Indian  Hunter  by  Ward,  near  south  entrance  to 
the  Mall.  Robert  Burns  by  Sir  John  Steell,  on  the  Mall.  Sir 
Walter  Scott  by  Sir  John  Steell,  on  the  Mall.  Fitz-Greene  Hal- 
leck  by  J.  W.  A.  MacDonald,  on  the  Mall.  Beethoven  by  Henry 
Baerer,  north  end  of  the  Mall.  Eagles  and  Prey  by  Christian 
Fratin,  west  of  north  end  of  Mall.  Tigress  and  Cubs  by  Auguste 
Cain,  northwest  of  the  Mall.  The  Falconer  by  George  Simonds, 
near  W.  73d  Street  entrance.  Daniel  Webster  by  Thomas  Ball, 
near  W.  73d  Street  entrance.  Giuseppe  Mazzini  by  G.  Turini, 
west  walk,  opposite  66th  Street.  Seventh  Regiment  Memorial  by 
Ward,  west  walk,  opposite  67th  Street.  Fountain  by  Olin  L. 
Warner,  off  East  Drive,  opposite  74th  Street.  Bethesda  Fountain 
by  Emma  Stebbins,  Esplanade.  Richard  Morris  Hunt  Memorial 
(ill.  no.  49),  D.  C.  French,  sculptor,  and  Post,  architect;  Fifth  Ave- 
nue, at  70th  Street.  S.  F.  B.  Morse  by  Byron  M.  Pickett,  near  5th 
Avenue  and  73d  Street  entrance.  The  Pilgrim  by  Ward,  near  5th 
Avenue  and  73d  Street  entrance.  Still  Hunt  by  Edward  Kemeys, 
East  Drive,  opposite  76th  Street.  Schiller  by  C.  L.  Richter,  in  the 
Ramble,  opposite  76th  Street.  Washington  by  Houdon,  in  Metro- 
politan Museum.  Egyptian  Obelisk,  near  Metropolitan  Museum. 
Alexander  Hamilton  by  Carl  Conrads,  N.  W.  of  Metropolitan 
Museum.  Thorwaldsen  by  himself,  5th  Avenue  and  96th  Street 
entrance.  McGown’s  Pass  Monument  by  Wm.  W.  Bosworth,  N.  E. 
part  of  Park. 


47 


Manhattan 


WEST—  59TH  TO  noTH  STREET 
DeWitt  Clinton  High  School,  Amsterdam  Avenue  and  59th 
Street — murals  by  C.  Y.  Turner.  Church  of  the  Paulist  Fath- 
ers, Columbus  Avenue  and  59th  Street — murals  by  Harris,  La 
Farge  and  Reid.  Studio  Buildings,  5,  15  and  23  West  67th  Street 
— murals  in  each  by  Sewell  and  in  15  also  by  F.  V.  DuMond. 
St.  Andrew’s  Church,  West  76th  Street — murals  by  C.  Y.  Turner. 
New  York  Historical  Society,  Central  Park  West  and  76th  Street 
(see  Museums) — window  by  Mary  Tillinghast.  American  Mu- 
seum of  Natural  History,  Central  Park  West  and  77th  Street  (see 
Museums) — murals  by  F.  W.  Stokes  and  others.  Church  of  All 
Angels,  West  End  Avenue  and  81st  Street — mosaic  altarpiece  by 
Violet  Oakley;  windows  and  mosaics  by  Tiffany.  St.  Michael’s 
Church,  Riverside  Drive  and  99th  Street — mosaics  and  seven  win- 
dows by  Tiffany. 

Columbus  Monument  by  Gaetano  Russo,  Columbus  Circle,  59th 
Street,  Broadway  and  Eighth  Avenue.  Verdi  by  Pasquale  Civi- 
letti,  Broadway  and  73d  Street.  Sculpture  in  Riverside  Park — 
Hamilton  Fountain  by  Farren  & Wetmore  at  76th  Street.  Clark 
Memorial  by  H.  K.  Bush-Brown,  at  83d  Street.  Soldiers’  and 
Sailors’  Monument  by  Charles  W.  Stoughton  & Arthur  A.  Stough- 
ton, architects,  and  Paul  E.  Dubov,  sculptor,  at  90th  Street.  Joan 
of  Arc  Monument  by  Anna  V.  ffyatt,  sculptor  and  John  V.  Van 
Pelt,  architect,  at  93d  Street.  Firemen’s  Memorial  by  H.  Van 
Buren  Magonigle,  architect,  and  Attilio  Piccirilli,  sculptor,  at  100th 
Street.  Brownson  Bust  by  Samuel  J.  Kitson,  at  104th  Street. 
Franz  Sigel  by  Karl  Bitter,  at  106th  Street.  Straus  Memorial  by 
Augustus  Lukeman,  sculptor,  and  Evarts  Tracy,  architect,  106th 
Street  and  Broadway. 

WEST— ABOVE  110TH  STREET 
Cathedral  of  St.  John  the  Divine,  noth  Street  and  Morning- 
side  Park — Gothic;  several  architects;  sculpture,  tapestries,  etc. 
St.  Paul’s  Chapel,  Columbia  University,  West  116th  Street — 
window  by  La  Farge.  Library  of  Columbia  University,  116th 
Street;  C.  F.  McKim,  architect.  Grant’s  Tomb,  Riverside 
Drive  and  i22d  Street  (open  daily  until  dusk) — J.  H.  Duncan, 
architect;  interior  reliefs  by  Rhind.  College  of  the  City  of  New 
York,  139th  Street  and  Amsterdam  Avenue — G.  B.  Post  and  Sons, 
architects;  mural  in  auditorium  by  Blashfield.  Chapel  of  the 
Intercession  (pilgrimage  3),  Broadway  and  155th  Street — Good- 
hue,  architect;  carvings  by  Kirchmayer  and  Lowrie;  Hall  of 
Fame,  and  Library,  New  York  University,  University  Heights, 
University  Avenue  and  181st  Street — McKim,  Mead  and  White, 
architects;  sculpture  by  various  artists. 

“Alma  Mater”  by  French,  Columbia  University  grounds,  116th 
Street.  Bear  and  Faun  Fountain  by  Edgar  Walter,  Morningside 
Park  at  116th  Street.  Carl  Schurz  by  Bitter,  Morningside  Drive 

48 


Manhattan-Bronx-Brooklyn 


and  1 1 6th  Street.  Lafayette  and  Washington  by  Bartholdi,  at 
114th  Street  and  Manhattan  Avenue.  Winfield  Scott  Hancock  by 
J.  W.  A.  MacDonald,  at  Manhattan  Avenue  and  123d  Street.  Fort 
Washington  Monument  at  Fort  Washington  Avenue  and  183d 
Street. 

BOROUGH  OF  THE  BRONX 

Morris  High  School,  166th  Street  and  Boston  Road — two  mural 
decorations  by  E.  W.  Deming,  given  by  the  Municipal  Art  So- 
ciety. Poe  Cottage;  Poe  Park,  Kingsbridge  Road,  Grand  Boule- 
vard and  the  Concourse — was  residence  of  Edgar  Allan  Poe. 

Heine  Monument  by  Ernst  Herter,  Grand  Boulevard  at  161st 
Street.  Louis  J.  Heintz  by  Wm.  W.  Bosworth,  Grand  Boulevard 
and  i62d  Street.  Poe  Bust  by  E.  T.  Quinn,  Poe  Park,  Kingsbridge 
Road,  Grand  Boulevard  and  Concourse.  Lydig  Memorial  Arch 
by  Heins  and  La  Farge;  Italian  Fountain  and  Four  Lions  by 
Eli  Harvey,  all  6 in  Zoological  Park.  Buildings  in  Zoological  Park 
are  decorated  with  sculptured  animals  by  various  artists.  Botani- 
cal Garden  Fountain  by  Carl  E.  Tefft,  Bronx  Park.  Sullivan 
Memorial  Fountain  by  Frank  E.  Wallis,  architect  and  J.  S.  Hart- 
ley, sculptor;  Josiah  Porter  by  Wm.  Clark  Noble,  and  Fountain 
by  Allen  and  Collens,  all  three  in  Van  Cortlandt  Park.  McComb’s 
Dam  Park  Fountain  by  Martin  Schenck,  Jerome  Avenue  and  East 
i62d  Street.  Hudson  Memorial  Column,  Babb,  Cook  and  Welch, 
architects,  Hudson  Memorial  Bridge,  opposite  West  227th  Street. 

BOROUGH  OF  BROOKLYN 

Borough  Hall,  Fulton  and  Court  Streets — portraits  and  sculp- 
ture in  lobby.  Colonial  Houses  in  the  neighborhood  of  Bergen 
Beach.  Eastern  District  High  School,  Keap  Street,  Marcy  Ave- 
nue and  Rodney  Street — three  murals  in  Keap  Street  entrance  by 
F.  L.  Stoddard.  Hall  of  Records,  Fulton  Street  and  Joralemon 
Place— Portraits  of  eminent  jurists.  Kings  County  Court  House, 
Fulton  Street  and  Joralemon  Place — Portraits  of  eminent  jurists. 
Plymouth  Church,  Orange  and  Hicks  Streets— nineteen  windows 
by  F.  S.  Lamb;  ten  in  auditorium  by  various  artists;  several  por- 
traits including  one  of  Henry  Ward  Beecher  by  A.  J.  Conant. 
Presbyterian  Church,  Lafayette  Avenue — window  by  Joseph 
Lauber.  Public  School  No.  5,  Tillary,  Bridge  and  Lawrence 
Streets — three  panels  in  main  auditorium  by  F.  S.  Lamb. 

Washington  by  H.  M.  Shrady,  Williamsburg  Bridge  Plaza. 
Henry  Ward  Beecher  by  Ward,  Borough  Hall  Park.  Edward 
Fowler  by  Henry  Baerer,  and  Prison  Ship  Martyrs  Monument 
Stanford  White,  architect,  Fort  Greene  Park.  U.  S.  Grant  by 
W.  O.  Partridge,  Bedford  and  Bergen  Avenues.  Henry  Warner 
Slocum  by  F.  MacMonnies,  Eastern  Parkway  and  Bedford  Ave- 
nue. 


49 


Brooklyn-Queens-Richmond 


The  following  are  in  Prospect  Park:  Soldiers’  and  Sailors’ 

Arch,  Duncan,  architect,  Prospect  Park  Plaza;  three  groups  of 
statuary  on  Arch,  by  MacMonnies;  reliefs  of  Lincoln  and  Grant 
by  W.  R.  O’Donovan  and  Thomas  Eakins ; four  columns  at  Arch 
by  MacMonnies.  Alexander  J.  C.  Skene  by  J.  Massey  Rhind,  at 
Plaza  (Flatbush  Avenue  and  Eastern  Parkway).  Gouverneur 
K.  Warren  by  Henry  Baerer,  at  Plaza.  James  S.  T.  Stranahan 
by  F.  MacMonnies,  at  Plaza.  Henry  W.  Maxwell  by  Augustus 
St.  Gaudens,  at  Plaza.  John  Howard  Payne  by  H.  Baerer,  Sulli- 
van Heights.  In  the  Flower  Garden  in  Prospect  Park  are  busts  of 
Beethoven  by  Baerer;  Washington  Irving  by  Baerer;  Thomas 
Moore  by  Draddy;  Mozart  by  Mueller;  Edward  Grieg  by  As- 
bjornsen;  Von  Weber  by  Beach.  Statue  Abraham  Lincoln  by 
Henry  Kirke  Brown.  Lioness  and  Cubs  by  Victor  Peter.  Mary- 
land Monument  by  Stanford  White,  on  Lookout  Hill.  Panthers 
bv  A.  P.  Proctor,  3d  Street  entrance.  The  Horse  Tamers  by  Mac- 
Monnies, Ocean  Avenue  entrance. 

BOROUGH  OF  QUEENS 

Bowne  House,  Flushing;  Friends’  Meeting  House,  Flashing; 
King  Mansion,  King  Park,  Jamaica — all  old  buildings. 

Conrad  Poppenhausen  by  Henry  Baerer,  College  Point.  Fox 
Monument,  at  Bowne  Avenue  and  Broadway.  Soldiers’  Monu- 
ment, Flushing  Park.  Soldiers’  Monument  by  Ruckstuhl,  Bergen 
and  Hillside  Avenues,  Jamaica. 

BOROUGH  OF  RICHMOND 

Perine  House,  Richmond  Road,  Dongan  Hills,  S.  I.;  Britton 
Cottage,  New  Dorp  Lane,  near  the  Beach,  New  Dorp,  S.  I.;  Bil- 
lopp  House,  Tottenville,  S.  I.;  Museum  of  Staten  Island  Associa- 
tion of  Arts  and  Sciences,  Stuyvesant  Avenue,  New  Brighton, 
S.  I.  (See  Museums) — all  old  buildings. 

Barrett  Fountain  by  Sherry  E.  Fry,  near  Borough  Hall,  Rich- 
mond. 


50 


ART  MUSEUMS,  LIBRARIES,  EXHIBITIONS1 

IMPORTANT  ART  SOCIETIES  AND  CLUBS 

Allied  Artists  of  America,  215  West  57th  Street,  Manhattan. 
Annual  spring  exhibition. 

American  Academy  in  Rome,  ioi  Park  Avenue,  Manhattan. 

Conducts  school  in  Rome  for  the  study  of  architecture,  sculp- 
ture, painting  and  landscape  architecture- 
American  Fine  Arts  Building,  215  West  57th  Street,  Manhattan. 
Annual  exhibitions  of  various  art  societies,  each  lasting  about 
one  month;  these  include  the  National  Academy  of  Design 
(fee  Monday;  also  open  evenings,  8 to  10)  ; New  York  Water 
Color  Club;  Architectural  League  of  New  York  (free  Satur- 
day; also  open  evenings,  8 to  10).  Open  daily  10  a.m.  to  5 
or  6 p.m.  ; Sunday  1 to  6;  admission  usually  25  cents. 
American  Museum  of  Natural  History,  77th  Street,  Columbus 
Avenue  and  Central  Park  West,  Manhattan. 

Material  illustrating  the  customs  and  early  art  of  various 
races — Chinese  bronzes,  Peruvian  textiles,  Indian  baskets  and 
blankets;  gems;  etc-  Open,  free,  daily  9 a.m.  to  5 p.m.;  Sun- 
days 1 to  5 P.M. 

American  Numismatic  Society,  Broadway  and  156th,  Manhattan 
(Pilgrimage  4). 

Coins  and  medals,  American  and  foreign.  Museum  and  li- 
brary open  free,  daily  10  a.m.  to  5 p.m.;  Sunday  1 to  5 p.m. 
American  Society  of  Miniature  Painters,  215  West  57th  Street, 
Manhattan. 

Annual  exhibition. 

American  Water  Color  Society,  215  West  57th  Street,  Manhattan. 
Annual  exhibition. 

Architectural  League  of  New  York,  215  West  57th  Street,  Man- 
hattan. 

Membership  composed  of  architects,  painters  and  sculptors. 
Annual  exhibition. 

Art  Alliance  of  America,  45  East  42d  Street,  Manhattan. 

Employment  Bureau  for  art  workers ; holds  exhibitions. 

Art  Commission  of  the  City  of  New  York,  City  Hall,  Manhattan. 
Passes  upon  designs  of  public  structures  and  works  of  art 
acquired  by  the  city. 

Art  Commission  Associates,  City  Hall,  Manhattan. 

Acts  in  advisory  capacity  to  the  Art  Commission. 

Art  in  Trades  Club,  318  West  57th  Street,  Manhattan. 

Membership  limited  to  those  employed  and  interested  in  the 
art  trades. 

^Tuller  information  in  current  issue  “American  Art  Annual.” 

51 


Museums — Societies 


Artists’  Fund  Society,  Secretary,  John  Ward  Dunsmore,  96  Fifth 
Avenue,  Manhattan. 

Aids  artists  and  their  families. 

Artists’  Aid  Society,  215  West  57th  Street,  Manhattan. 

Controls  a free  bed  in  the  Presbyterian  Hospital. 

Association  of  American  Painters  and  Sculptors,  Secretary,  J. 
Mowbray-Clarke,  1000  Madison  Avenue,  Manhattan. 
Occasional  exhibitions. 

Association  of  Women  Painters  and  Sculptors,  Secretary,  Olive 
P.  Black,  131  West  79th  Street,  Manhattan. 

Exhibitions. 

Avery  Architectural  Library,  Columbia  University,  West  116th 
Street,  Manhattan. 

Nearly  30,000  books  on  architecture  and  the  allied  arts.  Oc- 
casional exhibitions.  Open  free  daily  except  Sunday  and  holi- 
days, 9 A.M.  to  6 p.m.  and  7.30  to  11  p.m. 

Barnard  Museum,  Fort  Washington  Avenue  above  181st  Street, 
Manhattan. 

Antique  sculpture  collected  by  George  Grey  Barnard.  Ad- 
mission $2. 

Bronx  Society  of  Arts  and  Sciences,  Lorillard  Mansion,  Bronx 
Park,  Bronx. 

Paintings  lent  by  the  Metropolitan  Museum  of  Art  and  other 
loan  collections.  Open  free,  daily,  including  Sunday,  1 to 
5 p.m. 

Brooklyn  Museum,  Eastern  Parkway  and  Washington  Avenue, 
Brooklyn  (Pilgrimage  2). 

Egyptology;  architectural  photographs;  bronzes;  modern 
sculpture;  Greek  vases  and  terra  cotta;  ancient  glass;  coins 
and  medals;  drawings;  Oriental  and  European  ceramics;  tex- 
tiles, old  and  modern  paintings;  prints;  photographs;  lantern 
slides;  library.  Also  natural  history  and  ethnology.  Open 
daily  9 a.m.  to  6 p.m.;  Sunday  2 to  6 p.m.;  Thursday  evening 
7.30  to  9.30.  Admission  free  except  Monday  and  Tuesday, 
when  fee  is  25  cents;  children  10  cents.  Children’s  Muscui.*, 
Bedford  Park.  Open  free  daily  9 A.M.  to  5 P.M. 

Century  Association,  7 West  43d  Street,  Manhattan. 

Social  organization  holding  monthly  exhibitions  of  work  by 
members. 

Chelsea  Art  Gallery,  296  Ninth  Avenue,  near  28th  Street,  Man- 
hattan. 

Exhibitions  under  the  auspices  of  the  Chelsea  Neighborhood 
Association.  Open  free,  daily  3.30  to  6 and  7.30  to  9 p-m. 
Sunday  3 to  5 p.m. 

Cooper  Union  Museum  for  the  Arts  of  Decoration,  Third  Ave- 
nue and  8th  Street,  Manhattan. 

Furniture,  textiles,  wood  carvings  and  other  industrial  art  ob- 
jects arranged  in  chronological  order;  decorative  design  scrap- 

52 


M useums — Societies 

Cooper  Union  Museum — Continued: 

books;  reference  library.  Open  free  daily  except  Sunday  and 
Monday,  9 a.m.  to  5 p-m.  and  6.30  to  9 P.M.;  closed  July  1 to 
September  15. 

Dyckman  House,  Park  and  Musuem,  204th  Street  and  Broadway, 
Manhattan. 

Building  erected  1783-5;  restored  and  given  to  the  City  1915. 
Furniture,  costumes  and  other  objects  of  the  eighteenth  century 
and  relics  dug  up  near  the  place.  Open  free,  daily  10  a.m. 
to  5.30  P-M. 

Hispanic  Museum,  156th  Street,  west  of  Broadway,  Manhattan 
(Pilgrimage  4). 

Paintings,  sculpture,  wood  carvings,  and  other  works  of  Span- 
ish art.  Open  free,  daily,  including  Sunday,  10  a.m.  to  5 p.m. 
Lotos  Club,  no  West  57th  Street,  Manhattan. 

Social  organization  holding  monthly  art  exhibitions. 
MacDowell  Club,  108  West  55th  Street,  Manhattan. 

Social  club;  two  exhibitions  a month  of  self-organized  groups 
of  painters  and  sculptors.  Gallery  open  October  to  May,  free, 
daily,  except  Monday  and  Tuesday  10  A.M.  to  6 p.m. 
Metropolitan  Museum  of  Art,  Fifth  Avenue  at  82d  Street,  Man- 
hattan (Pilgrimage  1). 

Antiquities  from  Egypt,  Crete,  Cyprus,  etc.;  architectural  casts 
and  models;  arms  and  armor;  Boscoreale  mural  paintings; 
bronzes,  old  and  modern;  ceramics,  Oriental  and  European; 
clocks,  watches  and  sundials;  drawings,  old  and  modern; 
Greek  sculpture,  terra  cottas  and  vases;  enamels;  engravings 
and  etchings;  furniture  of  various  periods;  gems;  glass;  iron 
ware;  ivory  carvings;  jade;  jewelry;  laces;  lacquers;  manu- 
scripts; miniatures;  medals  and  plaques;  musical  instruments; 
ormolu;  paintings,  old  and  modern;  pewter;  pottery  and 
porcelain;  rugs;  sculpture— classic,  Gothic,  Renaissance  and 
modern;  silverware;  textiles;  woodwork — Gothic,  Renaissance, 
French,  English  and  Colonial.  Library,  special  exhibitions, 
classrooms,  study-rooms,  lectures,  photographs,  lantern  slides. 
Open  daily  10  A.M.  to  6 p.m.  in  Summer,  to  5 p.m.  in  Winter; 
Saturday  to  10  p.m.;  Sunday  1 to  5 p.m.  Admission  free  except 
Monday  and  Friday,  when  it  is  25  cents. 

Municipal  Gallery,  Washington  Irving  High  School,  40  Irving 
Place,  17th  Street,  Manhattan. 

Loan  collections,  changed  monthly.  Open  free,  week  days  9 
A.M.  to  5 p.m.;  Saturday  9 A.M.  to  12* 

Municipal  Art  Society  of  New  York,  119  East  19th  Street,  Man- 
hattan. 

Holds  competitions  and  awards  prizes;  lectures;  annual  ex- 
hibition. Works  of  art  presented  by  the  Society  to  the  City  of 
New  York:  Hunt  Memorial — Erected  with  other  societies  in 

53 


Museums — Societies 


Municipal  Art  Society — Continued: 

memory  of  Richard  Morris  Hunt.  Mural  Paintings  in  the 
Criminal  Court  Building:  The  Fates — Liberty,  Fraternity, 

Equality — Justice.  Electrolier  and  Isle  of  Safety  which 

stood  at  the  intersection  of  23d  Street  and  Fifth  Avenue.  Mural 
paintings  in  the  Morris  High  School,  “Gouverneur  Morris  ad- 
dressing the  Convention  for  Framing  the  Constitution  of  the 
United  States  in  Independence  Hall,  Philadelphia,”  and  “The 
First  Treaty  of  Peace  made  between  the  Weekquaisgeek  In- 
dians and  the  Dutch  at  the  Residence  of  Jonas  Bronck  in  1642.” 
Two  bronze  Hero  Tablets  at  Police  Headquarters  bearing  the 
names  of  those  officers  whose  lives  were  lost  in  the  city’s  ser- 
vice. Sculptured  panel  in  the  Washington  Irving  High  School; 
mural  decorations  in  the  School  being  executed.  Trophy  for 
drawing  competitions  in  the  High  Schools  of  the  City  which 
are  held  semi-annually.  Trophy  consists  of  oak  panel  with 
bronze  medallion  and  has  been  held  by  the  DeWitt  Clinton 
High  School  for  two  successive  terms. 

Mural  Painters,  215  West  57th  Street,  Manhattan. 

Course  of  atelier  instruction  maintained  in  conjunction  with 
the  Beaux-Arts  Architects  and  the  National  Sculpture  Society. 
National  Academy  of  Design,  215  West  57th  Street,  Manhattan. 
Two  exhibitions  each  season.  Maintains  school  at  Amsterdam 
Avenue  and  109th  Street,  where  there  is  a gallery  of  portraits 
of  Academicians  and  examples  of  their  work.  Founded  1826. 
National  Arts  Club,  119  East  19th  Street,  Manhattan. 

Loan  collections  changed  monthly.  Open  free,  daily  10  a.m. 
to  6 p.m.  Club  entrance  15  Gramercy  Park. 

National  Association  of  Portrait  Painters,  Secretary,  Earl  Stet- 
son Crawford,  51  West  10th  Street,  Manhattan. 

Annual  exhibitions. 

National  Sculpture  Society,  215  West  57th  Street,  Manhattan. 
Free  course  for  the  study  of  decorative  scupture  given  in  co- 
operation with  the  Society  of  Beaux-Arts  Architects ; occasional 
exhibitions. 

National  Society  of  Craftsmen,  119  East  19th  Street,  Manhattan. 
Permanent  exhibit  in  salesroom  of  Society;  large  annual  ex- 
hibition. 

New  York  Historical  Society,  Central  Park  West  and  77th  Street, 
Manhattan. 

Important  collections  of  paintings  by  old  masters;  Egyptian 
antiquities;  New  York  prints.  Open  free,  daily,  except  Sun- 
days and  holidays,  9 a.m.  to  5 P.M. 

New  York  Public  Library,  Fifth  Avenue  and  42d  Street,  Manhat- 
tan. 

Lenox  and  Stuart  collections  of  paintings  and  objects  of  art; 
Avery  and  other  collections  of  prints  (over  75,000)  ; current 

54 


Museums — Societies 


exhibitions;  special  art  reference  library.  Open  free,  daily  9 
a.m.  to  6 p.m.  ; Sunday  1 to  5 p.m. 

New  York  Society  Library,  109  University  Place,  Manhattan. 
Reference  library  with  special  art  alcove  containing  costly 
books.  Open  free,  daily  9 A.M.  to  6 p.m. 

New  York  Water  Color  Club,  215  West  57th  Street,  Manhattan. 

Annual  exhibition  in  autumn. 

Pratt  Institute  Free  Library,  Ryerson  Street,  Brooklyn. 

Reference  library;  photographs;  current  exhibitions.  Open 
free,  daily  except  Sunday  9 a.m.  to  9.30  p.m. 

Salmagundi  Club,  14  West  12th  Street,  Manhattan. 

Social  club;  frequent  exhibitions  and  awards. 

School  Art  League  of  New  York,  215  West  57th  Street,  Manhat- 
tan. 

Aids  the  training  of  the  City’s  children  in  taste  and  industrial 
art  knowledge.  Maintains  industrial  art  scholarships;  gives 
medals  in  elementary  and  high  schools  of  City. 

Society  of  Illustrators,  215  West  57th  Street,  Manhattan. 

Annual  exhibition. 

Staten  Island  Association  of  Arts  and  Sciences,  154  Stuyvesant 
Place,  New  Brighton,  Staten  Island. 

Greek  and  Roman  pottery;  loan  exhibitions.  Also  natural  his- 
tory. Open  free,  daily  except  Sunday  10  a.m.  to  5 p.m. 

Van  Cortland  House  and  Park,  King’s  Bridge  (220th  Street), 
Bronx. 

Building  erected  1748;  acquired  by  the  City  1889.  Furniture, 
prints  and  other  objects  of  the  eighteenth  century.  Open  daily 
10  A.M.  to  5 P.M. ; Sunday  2 to  5 p.m.  Admission  free  except 
Thursday,  when  fee  is  25  cents. 

Washington  Headquarters  Association,  Jumel  Mansion,  160th 
Street  and  Edgecombe  Avenue,  Manhattan. 

Washingtonia ; colonial  furniture;  Revolutionary  relics-  Open 
free,  daily  9 A.M.  to  5 P.M. 


55 


ART  SCHOOLS,  NEW  YORK  CITY 

American  School  of  Miniature  Painting,  96  Fifh  Avenue,  Man- 
hattan. 

Art  Students'  League  of  New  York,  215  West  57th  Street,  Man- 
hattan. 

Brooklyn  Art  Association,  175  Montague  Street,  Brooklyn. 

Columbia  University,  School  of  Architecture,  West  116th  Street, 
Manhattan. 

Columbia  University,  Teachers  College,  West  120th  Street,  Man- 
hattan. 

Cooper  Union,  Third  Avenue  and  8th  Street,  Manhattan. 

Ethical  Culture  Art  High  School,  Central  Park  West  and  63d 
Street,  Manhattan. 

Independent  School  of  Art,  1947  Broadway,  Manhattan. 

Modern  Art  School,  72  Washington  Square  South,  Manhattan. 

National  Academy  of  Desicn  Free  Schools,  109th  Street  and  Am- 
sterdam Avenue,  Manhattan. 

New  York  Evening  School  of  Industrial  Art,  214  East  42d 
Street,  Manhattan. 

New  York  School  of  Applied  Design  for  Women,  160  Lexington 
Avenue,  Manhattan. 

New  York  School  of  Fine  and  Applied  Art,  2237  Broadway, 
Manhattan. 

New  York  University  Summer  School  of  Art,  University 
Heights,  Bronx- 

Pratt  Institute,  School  of  Fine  and  Applied  Arts,  Ryerson 
Street,  Brooklyn. 

Sculpture  and  Mural  Studios,  under  the  auspices  of  the  Society 
of  Beaux-Arts  Architects,  the  National  Sculpture  Society, 
and  The  Mural  Painters,  126  East  75th  Street,  Manhattan. 

Society  of  Beaux-Arts  Architects,  126  East  75th  Street,  Manhat- 
tan. 

Washington  Irving  High  School,  40  Irving  Place,  Manhattan. 

Young  Women’s  Christian  Association  Art  School,  Lexington 
Avenue  and  53d  Street,  Manhattan. 


56 


STUDIO  CENTERS 

Washington  Square — 4th  to  14th  Street,  near  Fifth  Avenue.  Three 
sides  of  the  Square;  Macdougal  Alley;  Washington  Mews; 
8th  Street;  51  West  10th  Street  (the  oldest  studio  building). 
Chelsea — 222  West  23d  Street. 

Gramercy  Park— 14th  to  23d  Street,  east  of  Fourth  Avenue;  142 
East  18th  (the  first  apartment  house  built  in  New  York)  ; 
Arts  Club  Studios,  119  East  19th  Street;  around  Gramercy 
Park,  including  1 Lexington  Avenue. 

Public  Library — 40th  to  42d  Streets,  near  Fifth  Avenue;  80  West 
40th  Street;  101  Park  Avenue  (architects). 

West  57TH  Street — 57,  58,  130,  140,  152,  154,  and  318  West  57th 
Street;  the  Van  Dyck,  939  Eighth  Avenue,  at  56th  Street; 
Holbein,  55th  Street,  between  Sixth  and  Seventh  Avenues; 
Gainsborough,  222  Central  Park  West. 

West  67TH  Street — Hotel  des  Arts,  5,  also  15,  23,  27,  33  and  39 
West  67th  Street;  Broadway  Arcade  at  66th  Street;  Miller 
Building  at  Broadway  and  65th  Street;  Harperly  Hall,  64th 
Street  and  Central  Park  West. 

East  67TH  Street — Lexington  Avenue,  66th  and  67th  Streets. 


57 


ART  DEALERS 


Holding  Special  Exhibitions  in  their  Galleries. 
American  Art  Association,  6 East  23d  Street. 

Anderson  Galleries,  284  Madison  Avenue  (40th  Street). 

Arden  Studios,  599  Fifth  Avenue  (48th  Street). 

Arlington  Art  Galleries,  274  Madison  Avenue  (38th  Street). 
Berlin  Photographic  Co.,  305  Madison  Avenue  (42d  Street). 
Bourgeois,  Stephen,  658  Fifth  Avenue  (52d  Street). 

Braun  & Co.,  13  West  46th  Street. 

Bruno’s  Garret,  58  Washington  Square  (4th  Street). 

Butler,  D.  B.  & Co.,  601  Madison  Avenue  (57th  Street). 

Visitors  are  invited  to  inspect  original  drawings  by  Old  Mas- 
ters, rare  Mezzotints,  and  modern  etchings — also  period  frames. 
Cathedral  Parkway  Gallery,  2837  Broadway  (noth  Street). 
Charles  of  London,  718  Fifth  Avenue  (56th  Street). 

Clarke’s  Art  Rooms,  5 West  44th  Street. 

Daniel,  Charles,  2 West  47th  Street. 

Dudensing,  Richard  & Son,  45  West  44th  Street. 

Durand-Ruel  & Son,  12  East  57th  Street. 

Duveen  Brothers,  720  Fifth  Avenue  (56th  Street). 

Ederheimer,  R.,  366  Fifth  Avenue  (34th  Street). 

Ehrich  Galleries,  707  Fifth  Avenue  (55th  Street). 

Dealers  in  “Old  Masters”  exclusively.  Special  exhibitions  by 
Masters  of  the  Early  Schools. 

Fifth  Avenue  Art  Galleries,  546  Fifth  Avenue  (45th  Street). 
Folsom  Galleries,  396  Fifth  Avenue  (37th  Street). 

Gimpel,  E.  & Wildenstein,  636  Fifth  Avenue  (50th  Street). 
Glaenzer,  Eugene  & Co.,  705  Fifth  Avenue  (55th  Street). 
Gorham  Manufacturing  Co.,  Fifth  Avenue  and  36th  Street. 
Goupil  & Co.,  58  West  45th  Street. 

Haas,  Julius  G.,  648  Madison  Avenue  (60th  Street). 

Hahlo,  Arthur  H.  & Co.,  569  Fifth  Avenue  (46th  Street). 
Hellman,  George  S.,  3 66  Fifth  Avenue  (35th  Street). 

Kennedy  & Co.,  613  Fifth  Avenue  (49th  Street). 

Keppel,  Frederick  & Co.,  4 East  39th  Street. 

Klackner,  C.,  7 West  28th  Street. 

Kleinbercer  Galleries,  The  F.,  709  Fifth  Avenue  (55th  Street). 
Established  1848.  Specialty  Italian,  Flemish  and  German 
Primitives  and  XVIIth  Century  Dutch  paintings. 

Knoedler,  M.  & Co.,  556  Fifth  Avenue  (46th  Street). 

Paintings  by  Modern  and  Old  Masters,  choice  Engravings; 
Artistic  Framing;  paintings  cleaned  and  restored.  Exhibitions. 
Kraushaar,  C.  W-,  260  Fifth  Avenue  (29th  Street). 

Little  Gallery,  The,  15  East  40th  Street. 

Macbeth,  William,  450  Fifth  Avenue  (40th  Street)'. 

Paintings  by  American  artists.  Portraits  by  early  American 
painters.  Special  exhibitions  changed  monthly. 

58 


Art  Dealers 


Milch,  E.,  939  Madison  Avenue  (74th  Street). 

Miller,  C.  V.,  249  Fifth  Avenue  (30th  Street). 

Modern  Gallery,  500  Fifth  Avenue  (43d  Street). 

Montross  Gallery,  550  Fifh  Avenue  (45th  Street). 

Special  Exhibitions  of  pictures  by  American  Artists. 

Photo- Secession  Gallery,  291  Fifth  Avenue  (31st  Street). 

Pouch  Gallery,  345  Clinton  Avenue,  Brooklyn. 

Powell,  William  H.,  983  Sixth  Avenue  (56th  Street). 

Prinz  Brothers,  306  Fulton  Street,  Brooklyn. 

Ralston,  Louis,  567  Fifth  Avenue  (46th  Street). 

Reinhardt,  Henry  & Son,  565  Fifth  Avenue  (46th  Street). 

Rohlfs,  Henry  D.  G.,  Jr.,  944  Fulton  Street,  Brooklyn. 

Schwartz,  Samuel  & Sons,  290  Fifth  Avenue  (31st  Street). 

Scott  & Fowles  Gallery,  590  Fifth  Avenue  (48th  Street). 
Seemann  Prints,  13  West  42d  Street. 

Permanent  Exhibit;  over  2,000  subjects;  Alinari  Facsimiles, 
over  400  subjects.  Rudolf  Lesch,  United  States  General  Agent. 
Snedecor  & Company,  107  West  46th  Street. 

Modern  American  Paintings.  Artistic  carved  and  ornamental 
Frames.  Exhibitions. 

Stollberg,  Charles,  402  Madison  Avenue  (46th  Street). 

Suval,  Philip,  678  Madison  Avenue  (61st  Street). 

Thumb  Box  Gallery,  24  East  49th  Street. 

Walpole  Galleries,  10  East  49th  Street. 

Washington  Square  Gallery,  47  Washington  Square  South  (4th 
Street). 


59 


